ramaiization 
of Bible Stories 



BETH EKWIN MILIj?- 





Class 
Boot. 



. .63 



Gpipl: 



GGE2RIGHT DEPCSm 



THE DRAMATIZATION OF 
BIBLE STORIES 



THE UNIVEKSITY OF CHICAGO PRESS 
CHICAGO, ILLINOIS 



THE BAKER & TAYLOR COMPANY 

NEW YORK 

THE J. K. GILL COMPANY 

PORTLAND, OREGON 

THE CUNNINGHAM, CURTISS & WELCH COMPANY 

LOS ANGELES 



THE CAMBRIDGE UNIVERSITY PRESS 

LONDON AND EDINBURGH 

THE MARUZEN-KABUSHIKI-KAISHA 

TOKYO, OSAKA, KYOTO, FUKUOKA, SENDAI 

THE MISSION BOOK COMPANY 

SHANGHAI 




A SHEPHERD 



THE DRAMATIZATION 
OF BIBLE STORIES 



AN EXPERIMENT IN THE RELIGIOUS 
EDUCATION OF CHILDREN 



Elizabeth Erwin Miller 

The School of Education 
University of Chicago 




THE UNIVERSITY OF CHICAGO PRESS 
CHICAGO, ILLINOIS 



V? 



Copyright 1918 By 
The University of Chicago 



All Rights Reserved 
Published April 1918 



m -6 1918 

Composed and Printed By 

The University of Chicago Press 

Chicago, Illinois. U.S.A. 

©CI.A49284S 






i $ 



TO MY LITTLE FRIENDS, THE CHILDREN IN THE 

DRAMATIC CLUB OF THE HYDE PARK CHURCH OF DISCIPLES, 

THIS BOOK IS LOVINGLY DEDICATED 



GENERAL PREFACE 

The progress in religious education in the last few 
years has been highly encouraging. The subject 
has attained something of a status as a scientific 
study, and significant investigative and experimen- 
tal work has been done. More than that, trained 
men and women in increasing numbers have been 
devoting themselves to the endeavor to work out 
in churches and Sunday schools the practical prob- 
lems of organization and method. 

It would seem that the time has come to pre- 
sent to the large body of workers in the field 
of religious education some of the results of the 
studies and practice of those who have attained 
a measure of educational success. With this end 
in view the present series of books on " Principles 
and Methods of Religious Education" has been 
undertaken. 

It is intended that these books, while thoroughly 
scientific in character, shall be at the same time 
popular in presentation, so that they may be avail- 
able to Sunday-school and church workers every- 
where. The endeavor is definitely made to take 
into account the small school with meager equip- 
ment, as well as to hold before the larger schools 
the ideals of equipment and training. 



x General Preface 

The series is planned to meet as far as possible all 
the problems that arise in the conduct of the educa- 
tional work of the church. While the Sunday 
school, therefore, is considered as the basal organi- 
zation for this purpose, the wider educational work 
of the pastor himself and that of the various other 
church organizations receive due consideration as 
parts of a unified system of education in morals 
and religion. 

The Editors 



CONTENTS 

PAGE 

List of Illustrations xiii 

Introduction by Edward Scribner Ames ... i 

CHAPTER 

I. Educational Aims in Dramatization . 5 

II. The Method or Dramatization .... 9 

III. The Dramatization of "Joseph" ... 17 

IV. The Dramatization of " David and Goliath " 44 

V. The Dramatization of "Moses in the Bul- 
rushes" 52 

VI. The Dramatization of " Ruth " .... 59 

VII. The Dramatization of "Queen Esther" . 68 

VIII. The Dramatization of "Abraham and the 

Three Guests" 84 

IX. The Dramatization of "Daniel in the 

Lions' Den" 93 

X. The Dramatization of New Testament 

Parables 98 

XL The Dramatic Qualities in a Good Story . 109 

XII. Bible Stories Suitable for Dramatization 113 

XIII. Stage Setting and Properties .... 130 

XIV. Costuming 144 

XV. The Organization of a Church Dramatic 

Club 152 

Index 161 

xi 



LIST OF ILLUSTRATIONS 

A Shepherd Frontispiece 

FIGURE PAGE 

i. Pharaoh's Court 42 

2. A Scene From David and Goliath .... 47 

3. Esther and Mordecai 73 

4. Esther Dances before the King .... 75 

5. The King Holds Out the Scepter to Esther . 79 

6. Queen Esther Pleads for Her People . . 81 

7. The Three Guests Bless Abraham and Sarah . 88 

8. The Wise and Foolish Virgins ... . . . 101 

9. The Good Samaritan 104 

10. Water Jugs and Other Clay Utensils 132 

11. Woman Carrying Water Jug 133 

12. Ancient Wells in Palestine 134 

13. Ancient Weapons 135 

14. A Shepherd's Sling and Loom for Weaving 
Sling 136 

15. Sickles 137 

16. Scepter : 138 

17. Shields 139 

18. Trumpets 140 

19. Signet Ring 141 

20. Lamp 141 

21. Egyptian Designs 142 

22. Helmets and Crowns 143 

xiii 



xiv List of Illustrations 

FIGURE PAGE 

23. A Group of Children, Showing Costumes and 

a Trumpet 145 

24. The Costume of Abraham 147 

25. Two Kinds of Costumes — the Rich Shepherd 
and the Servant 148 

26. Costumes Showing Sandals Made by the 
Children 149 

27. Costumes 150 



INTRODUCTION 

By Edward Scribner Ames 

This book is its own best commendation, for it 
is a most convincing record of an important experi- 
ment in education. It is the more interesting 
because it is a real contribution to educational 
method from the field of religious education, which 
too often only appropriates and imitates what has 
been achieved elsewhere. 

This experiment is founded upon the powerful 
dramatic impulse of children and upon the educa- 
tive value of the natural expression of that impulse 
under the mutual self-criticism of the participating 
group. The function of the leader has been that 
of an unobtrusive member of the group contributing 
such suggestions from a wider experience and 
deeper insight as would naturally elicit and guide 
that criticism. That this fine art of teaching has 
been realized with unusual skill in this experiment 
will be apparent to the discerning readers of this 
record, as it has been by those who have watched 
the progress of the work itself. 

Too much emphasis cannot be given to the fact 
that the primary aim of this use of dramatization 
is the education of the children and not the 



2 The Dramatization of Bible Stories 

entertainment of spectators, although, when such 
dramatization is rightly estimated, nothing could 
be more genuinely entertaining. Those who are 
expecting to find here ready-made plays for chil- 
dren, with directions for staging them, will be 
properly disappointed, while those who are seeking 
illustrations of vital methods of education through 
the cultivation and use of the dramatic impulse 
will be amply rewarded. 

The latter will appreciate the frank portrayal 
of the early and cruder efforts of the children and 
their own critical reactions due to further reflec- 
tion and experimentation. These will understand 
something of the ability and patience that Miss 
Miller has employed in allowing the native impulse 
to develop naturally and to mature through the 
reactions of the children themselves. They will 
realize that the little people actually formulated 
the scenes and the lines of the dramas even if it 
required many weeks in some cases to do so; that 
it is better for the actors to make their own cos- 
tumes and stage properties, however simple they 
may be; that it is more educative for each child 
to be familiar with all of the parts, and thus with 
the drama as a whole, than to be coached ever so 
cleverly to impersonate a single character; and 
that facility and power in dramatization are thus 
attained which are permanent sources of pleasure 
and understanding. 



Introduction 3 

It need scarcely be added that the biblical stories 
are exceptionally well suited to such use and that 
when so employed they yield their profound 
religious quality directly in deep and lasting impres- 
sions. The children who have been so fortunate 
as to belong to this dramatic club not only "know" 
these stories, but they have lived them in an inti- 
mate and durable experience. 



CHAPTER I 
EDUCATIONAL AIMS IN DRAMATIZATION 

Dramatization is not commonly recognized as 
a means of vitalizing the religious education of 
children. The public school has found it to be 
one of the most effective methods for enriching the 
pupil's ideas of given units of subject-matter and 
for leading to the establishment of permanent 
interests and of habitual modes of action. 

The use of dramatization in the school in order to 
accomplish these ends finds its justification in cer- 
tain fundamental principles of teaching. Subject- 
matter is so presented that the important ideas 
stand out clearly. These ideas are mastered by 
utilizing them in some form of activity which leads 
to self-expression on the part of the children. 
Judgments are formed and conclusions are reached 
when children enter actively into a situation which 
presents a problem; ideas become their own 
through experience. Through dramatization chil- 
dren give expression to these ideas in the light 
of their own interpretation. The formulation of 
standards, the placing of values, and the realization 
of truths and ideals follow as direct results of 
actively entering into the life-experience of others. 



6 The Dramatization of Bible Stories 

From a psychological point of view ideas and 
ideals, whether religious or secular, are developed 
according to the same general laws. Furthermore, 
the principles of teaching which are effective in the 
daily classroom must be equally significant in 
religious training. It follows, therefore, that 
dramatization and other forms of self-expression 
are as valuable in attaining the aims of the Sunday 
school as they are in teaching the curriculum of 
the day school. ( Through dramatizing a Bible 
story children come into a comprehension of the 
life-experiences of a highly religious people; they 
are forming their own standards and ideals through 
meeting and solving the simple life-problems of the 
Hebrews. Each child has as great an opportunity 
for self-expression through dramatizing a Bible 
story as that afforded through dramatizing any 
other story. He not only develops his individual- 
ity, but through this kind of work he must neces- 
sarily come into the realization of his place within 
the group, as is the case in all well-directed drama- 
tization. 

The period is rapidly passing in which dramatics 
is looked upon by church members as being sinful 
and not in any way to be connected with the 
church. This view is a relic of a conception of 
religion in which all forms of freedom and pleasure 
were considered evil. People interested in religious 
education are now realizing that dramatization 



Educational Aims in Dramatization 7 

is not an activity foreign to children, but that it is 
an outgrowth of the play interest which is natural 
to all children. They are aware of the fact that 
dramatization becomes evident in the earliest 
stages of childhood through the desire of children 
to imitate in play the surrounding social activities. 
Many churches have already made use of these 
natural tendencies by incorporating organized 
play as one of their activities. Since dramatiza- 
tion is but a specialized form of organized play, 
and inasmuch as it can be used very effectively in 
vitalizing the religious training which all children 
should receive, it deserves a wider recognition and 
adoption. 

This book contains a description of a children's 
dramatic club which has been conducted as a part 
of the work of the Sunday school of the Hyde Park 
Church of Disciples, Chicago, Illinois, for the 
purpose of accomplishing the ends stated above. 
Before this dramatic club was organized a small 
amount of dramatization was attempted in certain 
of the classes during the Sunday-school period. 
The enthusiastic response from the children to 
this new phase of the work revealed the need for 
more of this kind of activity, and as a consequence 
it was decided to devote one hour each Sunday 
afternoon to the dramatization of Bible stories. 
The membership of the club included children 
ranging from six to fourteen years of age. The 



8 The Dramatization of Bible Stories 

average attendance has been from twenty to thirty 
children each Sunday throughout these four years 
of the club's existence. 

This organization was attempted more or less 
as an experiment with the hope that definite results 
could be accomplished. The practical problems 
which have arisen, the details of method of proce- 
dure, and the results which have been secured will 
be discussed in the following chapters. 

Several of the stories are given in the dramatic 
form which the children have worked out. This 
is done for the sake of showing what kind of a 
result may be secured. It is hoped that these 
plays, as they are written here, will not be given 
to children to learn and act; such a procedure 
would be entirely contrary to the spirit and purpose 
in which this experiment is set forth. 



CHAPTER II 
THE METHOD OF DRAMATIZATION 

Two very different aims are revealed in the 
present-day employment of dramatization. Chil 
dren are often required to give a dramatic produc- 
tion at some entertainment or social event. For 
this purpose a story is selected which has already 
been put into dramatic form. The parts are 
assigned by the leader, and the children are asked 
to memorize these parts in exact form and order. 
The children are then trained to give their parts 
according to directions. Throughout the prepara- 
tion of the play the finished production is the goal 
of endeavor. In such instances as this the chil- 
dren are a means to an end, and their own train- 
ing and development are usually sacrificed in 
the leader's attempt to secure a highly finished 
product. 

In contrast to the case just mentioned, drama- 
tization is looked upon as an important educa- 
tional factor in the development of children. From 
this point of view dramatization is utilized in 
developing on the part of the child intense and 
permanent interests in the words and deeds of 
noble characters, in developing power of natural 

9 



io The Dramatization or Bible Stories 

expression in them as individuals and as members 
of a group, and in raising standards of action to 
higher levels by giving forceful expression to worthy 
ideals. These aims are realized through the use 
of informal methods which give the children abun- 
dant opportunity for initiative and choice. The 
children themselves prepare their dramatization 
under the guidance of a leader who has a vision of 
the results which may be secured and who is skilful 
in directing the activities toward these ends. 

The little dramatic club herein described adopted 
at the outset the point of view outlined in the pre- 
ceding paragraph. Its organization was based 
on the belief that the development of boys and 
girls is a much more vital consideration than the 
development of a dramatic production. Through- 
out its history the chief purpose of the club has 
been to promote the growth of children through 
the free, spontaneous dramatization of Bible 
stories. In order to accomplish this aim, an in- 
formal method of working out dramatizations has 
been used. The public presentation of a play is 
only incidental to the children; there is no need 
for them to act out a story that has been dramatized 
by someone else. Their aim is realized in the joy 
of actually living the story over each time they play 
it, though this may result in the highest form 
of entertainment. That children should " speak 
lines" given them to memorize for the sake of 



The Method of Dramatization ii 

entertainment is deadly — to the child as well as 
to the audience. 

There is some difference of opinion as to the 
value of the classic language of the Bible for chil- 
dren, and many advocate the use of modern or 
simplified versions. If, however, the children have 
made their own efforts to dramatize the story, 
using first of all their own words, it is easy to help 
them to adopt much of the beautiful classic lan- 
guage in putting the work into its final form. The 
biblical wording helps to give the play its proper 
dignity and atmosphere, at the same time acquaint- 
ing the children with the exact language of a piece 
of good literature. 

The method of procedure which is followed in 
leading children to work out their own dramatiza- 
tions varies slightly according to circumstances but 
in the main is as follows: 

A story is chosen by the leader which includes 
the elements essential for a good dramatization, 
and it is told to the children in such a way that the 
action or events are emphasized. Direct discourse 
is used in the telling, and an effort is made to 
develop simple and vivid mental pictures. The 
children divide the story into its most important 
pictures or scenes. They then suggest in detail 
what should take place in the first scene, and some 
of them are asked to act it out as they think 
it should be done. This first presentation is 



12 The Dramatization of Bible Stories 

sometimes stiff and more or less self-conscious. The 
leader raises such questions as, "Which parts did 
these children do best ? " " Why ? " " Where can 
they improve it ? " "What would you do to make 
the part better?" "What do you think should 
have been said here ? " This leads to constructive 
criticism of the scene by the children themselves 
rather than by the leader in charge. Each child 
is eager to offer suggestions at this point and is 
anxious for an opportunity to give his own inter- 
pretation of the part by acting it out. He formu- 
lates his words as he acts. He forgets himself 
in the genuine interest which arises as he relives 
the experience of someone else. Each scene is 
developed in a similar manner. 

The leader encourages freedom in individual 
interpretation, yet she is ever keeping before the 
children the fact that they are trying to give a 
true portrayal of the characters or conditions. It 
is often valuable to have a discussion of individual 
characters for the purpose of securing clear ideas 
concerning them. After all have tried various 
parts and have offered many suggestions, they 
may be led to choose that interpretation which 
seems most adequate, or they may all work out 
the interpretation of a part which will involve 
the ideas of many. After the story has been played 
through a few times, each child should be able to 
assume any character. It is an essential part of 



The Method of Dramatization 13 

this method to see that every child has a different 
part each time. 

Very often, when the play develops to this stage, 
some one child, or several, will suddenly become 
aware of repetitions in the scenes and will suggest 
that some scenes are unnecessary. It is then the 
time to refer to the number of scenes in a good 
drama, and to lead the children to realize that in 
any good play much is left to the imagination of 
the audience, and that only the essential scenes 
need be shown. By means of discussions the play 
is worked over again, and it is finally reduced to the 
three or four scenes that seem absolutely necessary. 

In many instances the dramatization needs no 
further development. None of the words have 
been accepted as definite, for, although the thought 
given is the same each time, exactly the same words 
are never said twice. The story is interpreted 
slightly differently with each performance. This 
interpretation, without obtaining a highly finished 
result, is best for short stories or incidents. Fables 
and parables may be used well in this way. The 
action follows continuously with the development 
of the thought. 

In the case of a story which has a more detailed 
plot and which involves more complicated situa- 
tions the development may go further : the wording 
is carefully worked out by the children and the 
language of the Bible is employed. The words 



14 The Dramatization or Bible Stories 

which are finally used by the children may be 
composite results developed by the group as a 
whole, or after they have gone as far as they 
can with them the leader, or a committee com- 
posed of several children with the leader, may 
suggest a final form which is good from a literary 
standpoint. 

Children either volunteer or are chosen by the 
others to take finally certain parts. There is a 
marked socializing influence evident in the fact 
that a child is chosen by the other children for the 
good of the group and not for self-aggrandizement 
or partiality toward a friend. It is always the 
case after a few rehearsals that each child knows 
every part and can easily adapt himself to the part 
of any character. There is no trouble about a 
substitute when one or two children fail to arrive. 
Each child has lived the story until it has become 
a very vital part of him. The finished product 
belongs to the children; they have developed it; 
it is not the production of someone else which they 
have learned by heart. 

At the final presentation of the play the children 
invite parents and friends. This is not thought 
of as a climax toward which they have been work- 
ing; it is hardly more important than any of the 
rehearsals; it is simply an opportunity for others 
to enjoy the story with them. The encouragement 
of this attitude toward the public presentation 



The Method of Dramatization 15 

of a play is important in that it does away with the 
self-conscious feeling of a child that he is acting 
before people, or that people are interested in him 
rather than in the character that he portrays. 
Much harm can be done by allowing a child to feel 
that he is "showing off" on a stage. 

This mode of procedure in developing a drama- 
tization illustrates the general method which is 
employed in order to secure the results herein 
discussed. It should be helpful as a method which 
may be varied or built upon according to the cir- 
cumstances. Detailed descriptions of exact modes 
of procedure in presenting different kinds of Bible 
stories to the dramatic club will follow. Costumes 
and stage settings have always been of the simplest 
nature and will be discussed at length in a separate 
chapter. 

In order that this method may be of greatest 
practical value to those who are unfamiliar with it, 
a summary may give the steps in logical sequence. 
This outline is not to be taken as unchangeable, but 
merely as a working basis for the beginner. 

1. Select a story with care; then adapt it for 
telling. 

2. Tell the story, emphasizing the essential parts. 

3. Let the children divide the story into pictures 
or scenes. 

4. Have a discussion of what should take place 
in each scene. 



16 The Dramatization of Bible Stories 

5. Let volunteers from among the children act 
out one scene as they think it should be done, using 
their own words. 

6. Develop criticism by the other children with 
suggestions for improvement. 

7. Have a second acting of the scene for im- 
provement. 

8. Let each of the other scenes be worked out 
in the same manner. 

9. See that every child has the chance to try 
out many parts. 

10. Play the story through many times. 
Change it often according to the criticism, until 
the children recognize the result as a product of 
their best effort. 

11. With the help of the children change the 
words into biblical form. 

12. Let the group assign definite parts to be 
learned for the final performance. 



CHAPTER III 
THE DRAMATIZATION OF JOSEPH 

As will be noted in the following chapter, it is 
well in beginning dramatic work with children to 
use for the first efforts very simple stories. Joseph 
is too long and complicated for an early experiment. 
We may begin our exposition of method with this 
story, however, as it illustrates especially well the 
details of the developing process. 

At the first meeting the story was told in terms 
that followed closely the Bible version. The chil- 
dren were asked to select the big events, or pictures, 
in Joseph's life. They readily spoke of his life 
in Canaan as a boy; his being put into the pit 
and sold to the merchants; his life in Egypt with 
Potiphar ; the prison experience and the interpreta- 
tion of Pharaoh's dream; the change of fortune in 
becoming ruler of the land; the famine and the 
visits of his brothers; and, finally, his kindness to 
his father and brothers in giving them a home in 
Egypt. 

The story was told to the children very much as 
follows : 

Jacob was an old man, too old to care for his large flocks. 
He sat in the door of his tent day after day, and sent his 
twelve sons off with the sheep and goats to find grassy fields. 

17 



18 The Dramatization of Bible Stories 

Now of all the twelve sons Jacob loved Joseph, a lad of 
seventeen years, the best. Joseph was next to the youngest 
and often stayed with his father while the older brothers went 
away. Jacob gave Joseph a coat of many colors and showed 
him often that he was the favorite. This made the older 
brothers very jealous of Joseph, and they began to dislike him. 

Once Joseph dreamed a dream, which he told to his 
brothers, and it made them hate him all the more. He said 
to them, "Hear, I pray you, this dream which I have 
dreamed: Behold, we were binding sheaves in the field, and, 
lo, my sheaf arose, and stood upright; and, behold, your 
sheaves stood round about and bowed down' to my sheaf." 
Then his brothers said to him, " Shalt thou indeed reign over 
us ? or shalt thou have power over us ? " 

Then Joseph dreamed yet another dream, and he told 
it again to his father and brothers, and said, "Behold, the 
sun and moon and the eleven stars bowed down to me." 
And his father said unto him, "What is this dream that thou 
hast dreamed ? Shall I and thy mother and thy brethren 
indeed come to bow down ourselves to thee?" And the 
brothers remembered what their father had said, and they 
wished that harm might come to Joseph. 

It happened soon after this that Jacob sent his ten older 
sons with the flocks to Shechem, a place some distance away 
where there was good grass. Now the brothers were gone 
for so long a time that their father became anxious and 
decided to send Joseph after them. He said to Joseph, "Do 
not thy brethren feed the flock in Shechem ? Go, I pray 
thee, see whether it be well with thy brethren and well with 
the flocks; and bring me word again." So Joseph took 
money and food in his bag, and his staff in his hand, and 
went out to find his brothers. 

At Shechem there were no brothers to be seen. Joseph 
was wondering what he should do next, when he saw a man 



Dramatization of " Joseph" 19 

coming toward him over the field. "What seekest thou?" 
said the man. And Joseph answered, "I seek my brethren; 
tell me, I pray thee, where they feed their flocks." "They 
have departed from here," said the man, "and have gone 
to Dothan." Then Joseph went after his brothers and 
found them at Dothan. 

Now when the brothers saw Joseph afar off, they knew 
that it was he from his coat of many colors, and they 
plotted against him. One of them said, "Behold, this 
dreamer cometh. Come, now, let us slay him, and cast 
him into some pit, and we will say unto our father that some 
evil beast hath devoured him; and we shall see what will 
become of his dreams." Reuben, one of the brothers, felt 
more kindly toward Joseph than did the others and said 
to them, "Let us not kill him, but let us cast him into this 
pit that is near." Reuben thought that he would come 
back later after the brothers had gone and help Joseph out 
of the pit and take him to his father. 

When Joseph came to his brothers, they quickly took the 
coat of many colors from him and bound him and cast him 
into an old well which was dry. Then they sat down to eat 
bread. They had hardly become settled when one of them 
cried out, "Behold, I see a caravan! It is a company of 
Ishmaelites, with their camels bearing spicery and balm 
and myrrh, going down to Egypt." Then Judah said, 
"Why do we slay our brother and conceal his blood? 
Come, let us sell him to these Ishmaelites, and let not our 
hand be upon him, for he is our brother and our flesh." 
The brothers were content to do as Judah had said. They 
drew Joseph up out of the well, and when the Ishmaelites 
came near they sold him to them for twenty pieces of silver. 
And the brothers went away to kill a goat so that they 
might dip Joseph's coat into the blood, that their father 
might think that he had been killed by some wild animal. 



20 The Dramatization of Bible Stories 

Reuben did not know that Joseph had been sold, and 
returned unto the pit after the brothers had left. When he 
saw that Joseph was not there, he rent his clothes, and ran 
after the others, crying, "The child is not, and I, whither 
shall I go?" 

And when the brothers brought Joseph's coat to their 
father, they said, "This we have found; thou knowest if 
it be thy son's coat." And Jacob knew it, and said, "It 
is my son's coat; an evil beast hath devoured him." 
Then Jacob put on sackcloth and ashes and mourned for 
Joseph many days. 

Now the Ishmaelites brought Joseph down into Egypt 
and sold him to Potiphar, a captain of King Pharaoh's 
guard. And Joseph was faithful and served the Lord, and 
Potiphar saw that he could be trusted with great responsi- 
bility and made him ruler over his household. But Poti- 
phar's wife grew jealous of Joseph and disliked him, and 
told Potiphar things which were untrue about Joseph. 
After awhile Potiphar began to believe his wife and he 
decided that Joseph was not a good man, so he had Joseph 
cast into prison. 

And it came to pass that the butler and the baker of the 
king of Egypt were put into prison at the same time that 
Joseph was there, and they were placed in his ward. One 
morning Joseph found them both very sad and he said unto 
them, "Wherefore look ye so sadly today?" And they 
said, "We have dreamed a dream and there is no one to 
interpret it." Then Joseph said, "Do not interpretations 
belong to God ? Tell me your dreams, I pray you." And 
they told him their dreams, and he gave them the meaning 
thereof. To the chief butler he said, "Yet within three 
days shall Pharaoh lift up thine head and restore thee to 
thy place." But to the chief baker he said, "Yet within 
three days shall Pharaoh lift up thy head from off thee, and 



Dramatization of " Joseph" 21 

shall hang thee on a tree." And it came to pass that on the 
third day Pharaoh gave a feast to his servants, and he 
restored the chief butler to his place, but he hanged the 
chief baker, as Joseph had interpreted. 

At the end of two years Pharaoh dreamed a dream. He 
was greatly troubled, and sent for all the wise men of the 
land to tell him the meaning of his dream, but there was 
none that could interpret it unto Pharaoh. Then the 
chief butler spoke to the king and said, "I do remember 
this day, that when Pharaoh was wroth with his servants 
and put both me and the chief baker into the prison, that 
we each dreamed dreams in one night; and there was a 
young man there, a Hebrew, who interpreted to us our 
dreams, and they came to pass as he interpreted, for the 
chief baker was hanged and I was restored to my office." 

Then Pharaoh sent for Joseph, and they brought him 
in hastily out of the dungeon. And Pharaoh said, "I have 
dreamed a dream, and there is none that can interpret it, 
and I have heard say of thee that thou canst understand a 
dream to interpret it." And Joseph answered Pharaoh, 
"It is not in me; God shall give Pharaoh an answer of 
peace." Then Pharaoh said, "In my dream, behold, I 
stood upon the bank of a river; and there came up out of 
the river seven fat cows, and they fed in a meadow. And, 
behold, seven other cows came up after them, lean and ill 
favored; and the lean and ill-favored cows did eat up the 
fat and well-favored cows. Then I dreamed again, and, 
behold, seven full ears of corn came upon one stalk, and 
then seven ears, withered and thin, came up after them, 
and devoured the good ears." 

And Joseph said to Pharaoh, " God hath shewed Pharaoh 
what he is about to do. This is the thing which he is about 
to do: Behold, there will come seven years of plenty 
throughout the land of Egypt; and there shall rise up after 



22 The Dramatization of Bible Stories 

them seven years of famine, and the famine shall consume 
the land. Now, therefore, let Pharaoh look out a man, 
discreet and wise, and set him over the land of Egypt, and 
let him gather up all the food during the years of plenty 
and lay it up in the cities, so that the land shall not perish 
in the famine." And the thing was good in the eyes of 
Pharaoh, and he said, "Can we find such a one as this is, 
a man in whom the spirit of God is ? Forasmuch as God 
has shewed thee all this, there is none so discreet and wise 
as thou art; thou shalt be over my house, and according 
to thy word shall all my people be ruled." Pharaoh took 
off his ring from his hand and clothed him in fine linen and 
put a golden chain around his neck. 

Joseph went out from the presence of Pharaoh and went 
over all the land of Egypt. He gathered up the food for 
seven years, and laid up the food in the cities. And the 
seven years of plenteousness that were in all the land of 
Egypt were ended, and the seven years of famine began, 
and there was famine in all the lands. Then Joseph opened 
the storehouses and sold to the Egyptians, and other 
countries sent to buy grain from Joseph because they had 
stored none. 

Now in Canaan Jacob and his eleven sons were suffering 
from the famine. They heard that there was food in Egypt, 
so Jacob sent down all the brothers, except Benjamin, to 
buy food. When they came before Joseph and bowed 
themselves to the earth, they knew him not. But Joseph 
saw his brothers, and he made himself strange unto them, 
and treated them roughly, that they should not know him. 
And when they bowed before him Joseph remembered the 
dreams that he had dreamed of them. "Ye are spies," 
he said, "ye are come to see the bareness of the land." 
They answered him, "We are true men, we are no spies. 
Thy servants are twelve brothers, the sons of one man 



Dramatization of "Joseph" 23 

in Canaan; and, behold, the youngest is this day with our 
father, and one is not." "Hereby ye shall be proved," 
said Joseph, "if ye be true men; let one of your brethren 
be bound in the prison while ye go and carry grain to your 
father's house, but bring back your youngest brother to me." 

The brothers took the food back to Canaan, to their 
father's tent, and told him what the ruler in Egypt had said. 
Jacob mourned and was loath to let Benjamin, his youngest 
son, go back to Egypt with them. "My son shall not go 
down with you," he said; "for his brother is dead and he is 
left alone: if mischief befall him, then shall ye bring down 
my gray hairs with sorrow to the grave." But the famine 
was great in the land, and they had eaten up all the grain 
which they brought from Egypt. The brothers would not 
go down again until Jacob had consented to let them take 
Benjamin with them. And Judah said unto his father, 
"Send the lad with me and we will rise and go, that we may 
live and not die. I will be surety for him; if I bring him 
not back unto thee, then let me bear the blame forever." 
Then Jacob answered, "If it must be so, do this: take the 
best of the fruits in the land, and carry down the man a 
present, a little balm, and a little honey, spices, and myrrh, 
nuts, and almonds and take double money, and take also 
your brother, and arise and go unto the man; and God 
Almighty give you mercy before the man, that he may send 
you away with your other brother and Benjamin." 

And the men took the present and double the money 
and Benjamin, and went down into Egypt, and stood before 
Joseph. When Joseph saw Benjamin, he ordered that the 
men be brought to his home, and that a feast be made ready, 
and that the other brother be brought out of the prison. 
But the men were afraid because they were brought into 
Joseph's home, and they bowed themselves to the earth 
before him and presented their gifts. Then Joseph was 



24 The Dramatization of Bible Stories 

greatly moved and said unto them, "Is your father well, 
the old man of whom ye spake? Is he yet alive?" And 
they answered, "Thy servant, our father, is in good health; 
he is yet alive." And they bowed down their heads. Then 
Joseph lifted up his eyes and saw Benjamin, his mother's 
youngest son, and said, "Is this your younger brother of 
whom ye spake unto me?" And he said to Benjamin, 
" God be gracious unto thee, my son." Joseph was so over- 
come by his love for Benjamin that he hastened out of the 
room where he could weep alone. And he washed his face 
and composed himself and commanded that the food be 
served. They all ate and were merry, and Joseph helped 
Benjamin to five times as much as he did the others. 

Then Joseph commanded the steward to fill the men's 
sacks with food, and to put each man's money back into his 
sack, and to put his silver cup into the sack of the youngest. 
As soon as the morning was light the men were sent away. 
And when they were gone out of the city and were not yet 
far off, Joseph sent a servant after them to search their sacks 
for his silver drinking-cup, and he sent word that the one 
who had it should be brought back to him. 

Now the brothers were greatly distressed and protested 
that they knew nothing of the cup. What was their 
astonishment at finding their money in their sacks and the 
cup in Benjamin's sack! Then they rent their clothes and 
returned to the city. And Judah came to Joseph and fell 
on the ground and said, "What shall we say unto my lord ? 
or how shall we clear ourselves ? God hath found out our 
sin, behold we are my lord's servants." Then Joseph said, 
"Get up and go in peace unto thy father; I shall keep for 
my servant only the man in whose sack the cup was found." 
And Judah came near to Joseph and besought him that he 
allow Benjamin to return to their father; he told him that 
he had promised his father to bring the lad back safely, 
and that it would kill the old man if they returned without 



Dramatization of " Joseph" 25 

Benjamin. "Now therefore, I pray thee, let thy servant 
abide as a bondman, instead of the lad." Then Joseph 
could not refrain himself, and he wept before his brothers 
and made himself known to them. "I am Joseph, do ye 
not know me ? Is my father yet alive ? " And the brothers 
were troubled, and they did not know how to answer him. 
"Come near, I pray you." And they came near, and he 
said again, "I am Joseph, your brother, whom ye sold into 
Egypt. Now be not grieved nor angry with yourselves 
that ye sold me hither, for God did send me before you to 
preserve your lives. Haste ye, go up to my father, and 
tell him that Joseph, his son, still liveth, and bring him 
down unto me." And Joseph fell upon Benjamin's neck and 
kissed him, and he kissed all his brothers, and they were 
astonished, for they knew now that this was Joseph whom 
they had sold. 

Now the word was spread over Pharaoh's house that 
Joseph's brethren had come, and it pleased Pharaoh greatly. 
He came in where they were and said unto Joseph, "This 
do ye: Say to your brethren that they are commanded 
to go back into Canaan, and to pack all their household 
goods, and to bring their father and their families, and all 
their flocks, and to return into the land of Egypt, for all 
the good of the land shall be theirs." 

Then the brothers were joyful, and gave thanks unto 
Pharaoh and to their brother, Joseph, and they left the 
city to go back to their father. And when they came unto 
Jacob and told him all, and showed him the wagons which 
Joseph had sent to bring him down into Egypt, his soul 
rejoiced, and he said, "It is enough; Joseph, my son, is 
still alive: I will go and see him before I die." 

The children decided that it would take a great 
many scenes in order to act out the story ade- 
quately. At first they mentioned seven or eight. 



26 The Dramatization of Bible Stories 

One child was asked to describe the first scene as 
he thought it ought to be, and several others added 
to the description. Volunteers were then called 
upon to act it out then and there. 

The first scene was placed in front of Jacob's 
tent. Jacob is anxiously awaiting the return of his 
ten sons with the flocks. He becomes worried 
because they do not come, so he sends Joseph to 
seek his brothers. Joseph accepts the command 
and leaves the tent. 

This scene was acted very naturally and spon- 
taneously by several groups of children. Each 
time it was changed, for no two groups of children 
interpreted the action or words alike. ' 

The children who were not acting were made to 
feel their responsibility also, for they were asked to 
make note of the best parts. A general discussion 
was held at the end of each presentation, in which 
the good points were emphasized and suggestions 
were given as to improvement. The criticism in 
all of this work comes for the most part from the 
children; the leader in charge directs it, but keeps 
from imposing her opinions. 

As the meetings of this dramatic club last but 
one hour, nothing more could be done than work 
out one scene at this first time. The children were 
asked to think the story over and to come the next 
Sunday prepared to suggest the second and third 
scenes in detail. 



Dramatization of " Joseph" 27 

At the next meeting the second and third scenes 
were worked out in the same manner as the first. 

The second scene places Joseph at Shechem. 
Here he meets the man who tells him that his 
brothers have gone to Dothan. 

In the third scene the brothers are seated on the 
ground eating and resting, with their shepherd 
staffs beside them; they begin to talk about Joseph 
and to tell of his dream and their hatred of him. 
Just at this point Joseph runs in and gives his 
father's message. He also tells of his experience 
in Shechem in not finding them there. Then the 
brothers take him and bind him and throw him 
into the pit. The caravan comes along and 
Joseph is sold and taken away. After the brothers 
depart, Reuben, not knowing that Joseph has been 
sold, comes back to the pit, hoping to help him out. 
When he finds the boy gone, he weeps and goes 
sorrowfully away. (A doorway which leads off 
from the stage at the back was used for the pit. 
There were no camels in the caravan; the men 
walked by.) 

During the next hour scenes which describe 
Joseph's life in Egypt were roughly blocked out. 
The children made up their words as they acted 
the parts. The language at this stage was very 
modern, but for the time being the emphasis was 
placed upon the thought expressed and upon the 
action. 



28 The Dramatization of Bible Stories 

Several of the older girls volunteered to write out 
the first few scenes in order to bring the language 
into better form. At the fourth meeting these 
were brought in and discussed by the children. 
The following is a version of the first scene just 
as it was written by a girl of twelve years. It is 
given here that the contrast may be seen between 
this as a piece of work which may be made better 
and the final play at the end of the chapter. 

SCENE I 

Jacob: It is time my sons are returning with their 
flocks. See if thou canst see them coming. 
[Exit servant.] 
First Lady: Yes, they have been gone a long time. We 
have only Joseph and Benjamin with us. 
[Enter servant.] 
Jacob: What didst thou see ? 
Servant: Master, I saw nothing of your sons. 
Jacob: I shall send Joseph after them. Bring Joseph 
hither. [Turns to another servant.] Bring a bag of food 
for him to take with him on his journey. 
[Servants leave. Jacob looks away, hoping to see his sons.] 
Jacob: I do not see them. What can be the matter ? 

[Enter Joseph with servant.] 
Second Lady: Joseph will be sure to find them. 
Jacob: Joseph, my son, I am sending thee after thy 
brethren. Take this food to Shechem and bring thy 
brethren back to me. 

Joseph: I will do as thou bidst. 

[Jacob stands and puts his hand on Joseph.] 
Jacob: May the Lord go with thee. 
End 



Dramatization of " Joseph" 29 

The third scene was written by a girl of eleven 
years and was as follows: 

SCENE III 

[All brothers look down the road.] 
All Brothers: What shall we do with him ? 
Seventh Brother: I know; let's kill him! 
All except Reuben: Yea! Yea! 

Reuben: Nay, do not kill him ; let's put him in a deep pit. 
Tenth Brother: Well, all right. 

[Joseph appears; exit Reuben.] 
Joseph: Ah, I have found ye at last, my brethren. 

[All grab Joseph.] 
Joseph: What have I done to deserve this ? 
Fourth Brother: Get some rope! 
[Exit sixth brother and brings some rope back with him. 
Eighth and ninth brothers bind Joseph with ropes. All 
take hold of him and push him into the pit.} 
Tenth Brother: But what shall we tell our father ? 
Eighth Brother: Let's tell him that Joseph was killed 
by a wild beast. 

Ninth Brother: We will take his coat of many colors, 
which our father gave him, and dip it in the blood of a goat. 
All: Yea! Yea! 

[Seventh brother sees some merchants.] 
Seventh Brother: I see merchants in the distance. Let's 
sell Joseph to them. 

[One brother goes after the merchants, while the others bring 
Joseph from the pit. Merchants enter.] 
Tenth Brother: What will ye give us for this lad ? 
Merchant: I guess we can give ye about twenty pieces 
of silver. 



30 The Dramatization of Bible Stories 

[Merchants take Joseph with them. Brothers go on their 
way. Enter Reuben after his brothers have gone. 
He runs to the pit.} 
Reuben: Joseph ! Joseph ! Where art thou ? The lad 
is gone. Whither shall I go ? 

[Reuben goes away, sobbing and wringing his hands.] 
End 

At the meeting when these were read the chil- 
dren began to criticize the length of the play. One 
little boy made the remark, "We keep telling the 
same things over; why can't we leave out that 
second scene ? It is so short, and Joseph could 
tell his brothers in the third scene that he didn't 
find them at Shechem." This suggestion was 
readily accepted, and as a consequence the second 
scene was omitted. Then the entire group con- 
sciously worked on the play to see what parts were 
unnecessary. Several children had recently been 
to the theater and had seen some good plays. 
They told the others that there were few scenes 
and that there was much left to the imagination 
of the audience. The result was that this long- 
drawn-out play was cut down to three essential 
scenes. The first scene was placed at Dothan, and 
was much the same as the original scene iii. The 
second scene was placed at Pharaoh's palace where 
Joseph was brought to interpret the king's dream. 
The third represented the brothers coming to 
Joseph with Benjamin, the youngest, ending with 



Dramatization of " Joseph" 31 

Joseph's forgiveness of them and his sending for 
Jacob, their father. 

After these three scenes were decided upon, the 
older children were asked to begin writing them out 
in final form. 

At the fifth meeting of the club all the children 
sat in a circle with Bibles and pencils and paper 
and, together with the leader, they formulated the 
speeches, making them conform as nearly as pos- 
sible to those in the Bible. The work that had been 
done outside was discussed and built upon. This 
part of the procedure did not take as long a time 
as it may seem, because the children knew so well 
what thoughts they wanted to express — they had 
lived the story so many times. They practiced 
after this, using the words they had decided upon. 

For the next meeting or two the children acted 
out the play, trying each time to improve it by 
better interpretations of the parts. The fact that 
they had learned definite words did not in the least 
check the freedom of the action or cause the play 
to lose the spontaneity which first characterized 
it, for the reason that the story had quite become 
a part of the children before they decided upon the 
set speeches. 

The question arose as to which children should 
take certain parts. In some instances several 
wanted to learn the part of one particular char- 
acter. They were each given the opportunity of 



32 The Dramatization of Bible Stories 

learning it, and then at the next meeting each 
acted it as best he or she could before the group. 
The other children were judges and decided upon 
the one who seemed to represent the character 
best. Whenever this method of choosing char- 
acters has been employed there has never been any 
hard feeling on the part of a child because he was 
not chosen. The justice of the choice is quickly 
recognized when it comes in this way rather than 
from the leader. 

There were many little children in this club who 
were scarcely old enough to learn a part or to say 
very much. They were easily worked into the 
caravan, or they took such parts as servants in 
Pharaoh's court. Each child was made to feel that 
one part was just as important as another and that 
those who had nothing to say were very essential 
elements because of their acting. 

Eight or nine meetings were needed before the 
play was entirely finished. The children had very 
simple slips for costumes which they had been wear- 
ing at each rehearsal. Bright-colored sashes and 
headdresses they brought from home. Pharaoh 
was more gaily dressed than the others. The child 
who took the part made for himself many orna- 
ments from gilt paper. 

Very little attention was given to stage setting; 
what was used was extremely simple. A few of 
the older girls made designs from the Egyptian 



Dramatization of " Joseph" 33 

lotus to stand around the walls of Pharaoh's 
palace or to be carried by the servants. Colored 
illustrations of Bible stories by Tissot were sug- 
gestive helps in these details. The ten brothers 
made themselves shepherd staffs from limbs of 
trees. This small amount of stage setting and 
costuming was used at many rehearsals and was all 
that was necessary to produce the right atmosphere. 

As soon as the children felt that the play repre- 
sented their best effort they invited their parents 
and friends and presented it before them one 
Sunday afternoon at the time for the regular 
meeting. 

It happened that a few days before the final 
presentation four of the principal characters were 
taken ill with measles and chicken-pox. Four 
others, who had not given special attention to these 
parts, but who had minor parts, assumed the 
important roles and went straight through the 
play with no trouble whatever. The audience 
never knew the difference and the children thought 
that it was entirely natural that they should be 
able to do this. The play all the way through was 
characterized by a spirit of dignity and seriousness. 

As direct results of this work in dramatization 
it was noted that all the children had acquired a 
certain freedom of expression, a self-confidence, 
without conceit or too much sureness, and the 
ability to work harmoniously with the group. 



34 The Dramatization of Bible Stories 

One or two timid children learned to forget them- 
selves, and one overconfident child was helped 
by seeing that others could learn to do the part 
even a little better than herself. 

The children who took part in this little play of 
Joseph will never forget it. Several years after 
the play was given they were frequently referring 
to it with great happiness. Joseph is one of their 
favorite characters because they have lived through 
his experiences with him. 

The following is the play as it was given in its 
final form. It is not to be taken as a play which 
may be given to children to be learned as it is; it 
is given here that there may be some idea of the 
standard which may be reached. 

JOSEPH 

SCENE I 

Place: Dothan. 

Characters: Reuben, Simeon, Levi, Judah, Issachar, 
Zebulun, Dan, Naphtali, Gad, Asher, Joseph, Several 
Ishmaelitish Merchants. 
[The ten brothers are sitting and lounging on the ground, 
eating bread.] 
Reuben: Shall we stay longer in this place? Our 
flocks have fed well in Shechem and Dothan. Let us 
return again unto Canaan and to the tent of our father, 
Jacob. 

Judah: Oh, why should we go back ? Our father loveth 
us not! It is Joseph, our younger brother, that he favoreth! 



Dramatization of " Joseph" 35 

Levi: Yes, this Joseph! This dreamer of dreams! He 
thinketh he is greater than we. He thinketh he shall rule 
over us! 

Judah: Ye heard him when he said, "Hear this dream 
which I have dreamed: Behold, we were binding sheaves 
in the field, and, lo, my sheaf arose, and stood upright; 
and, behold, your sheaves stood round about, and bowed 
down to my sheaf." 

Simeon: Ha ! Shall he indeed reign over us ? Or 
shall he have dominion over us ? 

Levi: Yea, and he dreamed yet another dream, for he 
said, "Behold, the sun and the moon and the eleven stars 
bowed down unto me." 

Dan: What is this dream which he has dreamed? 
Shall his mother and father and eleven brethren indeed 
come to bow down themselves to him ? 

Simeon: Joseph and his dreams are hateful unto me! 
I was glad when our father said to us, "Take the flocks to 
feed in Shechem," for now we are free of him. 

Levi: It seemeth to me that I see this Joseph, this 
dreamer whom we hate. He is yet afar off, but he surely 
approacheth us! 

Reuben: Can it be he ? 

Dan: Yes, for I see the coat of many colors, the coat 
our father made for his favorite son. 

Levi: Why should he come to us ? Cannot our father 
trust the flocks to our hands without sending this Joseph 
to spy on us ? 

Dan: It is he! It is Joseph! 

Simeon: What shall we do ? 

Judah: Our time is come. We despise him; let us 
slay him. 

Reuben: Nay, thou dost not mean to slay him! 

Several: Nay! Nay! 



36 The Dramatization or Bible Stories 

Judah: We must surely slay him. We must rid our- 
selves of this dreamer. Think how he said he should reign 
over us ! Let us be rid of him ! 

Simeon: Yes, thou art right — we must slay him. 

Several: Yea, yea, slay him! Destroy him! He shall 
dream no more such dreams! 

Simeon: Behold, this dreamer cometh near! Come, 
now, and let us slay him, and cast him into some pit, and 
we will say, "Some evil beast hath devoured him," and we 
shall see what will become of his dreams. 

Reuben: Let us not kill him. Shed no blood, but cast 
him into this pit that is in the wilderness, and lay no hand 
upon him. 

[Reuben goes away.] 

[Joseph runs up. Gad lays one hand roughly on his shoulder.] 

Gad: How comes it that thou art here ? What is thy 
business ? 

Joseph: My father commanded me and said, "Go, I 
pray thee, and see whether it be well with thy brethren and 
well with the flocks; and bring me word again." So he 
sent me out of the vale of Hebron, and I came to Shechem. 
And you were not there, and I came on after you and found 
you here. What troubleth you? Hath ought happened 
to the flocks ? 

Simeon: Hear his tale! This dreamer of dreams! So 
he would reign over us, would he! Strip him of his coat 
of many colors! This favored son! 

[Brothers bind Joseph and cast him into the pit.] 

Joseph: What have I done to deserve this ? 
[Brothers sit down again to eat their bread.] 

Gad: Behold, I see a caravan! 

Simeon: From what country ? 

Gad: It is a company of Ishmaelites, from Gilead, with 
their camels, bearing spicery and balm and myrrh, going 
down into Egypt. 



Dramatization of " Joseph" 37 

Judah: What doth it profit if we slay our brother and 
conceal his blood? Come, let us sell him to these Ish- 
maelites and let not our hand be upon him, for he is our 
brother and our flesh. 

Several: So be it. 

Gad: Hail the caravan, and bargain with these men. 

■ Simeon [salutes the head man of the caravan; the brothers 

listen attentively; Gad brings Joseph out of the pit] : What 

wilt thou give us in exchange for this lad ? We would sell 

him. 

Merchant [looks Joseph over, then consults with his men] : 
Twenty pieces of silver will we give for him. 

Simeon [to the brothers]: These merchants will give us 
twenty pieces of silver for this dreamer. 

All: Sell him! Sell him! 

[Joseph is taken over by the merchants and they all move on. 
The brothers are dividing out the money.] 

Gad: The lad is gone with the merchants, but what 
excuse shall we make unto our father ? 

Simeon: Say unto him that a wild beast hath devoured 
him. Here is his coat of many colors — we will kill a goat 
and dip the coat in the blood! Then our father, Jacob, 
will grieve for his son! 

All: As thou sayest, so let us do! 

[Brothers move of stage, discussing the money. Reuben 

comes back. He runs and looks in the pit. He tears his 

clothes when he finds that Joseph is not there.] 

Reuben: The child is not, and I, whither shall I go ? 

SCENE 11 

Place: Egypt. In Pharaoh's palace. 
Characters: Pharaoh, Joseph, Wise Men, Chief 
Butler, Servants. 

[Pharaoh is sitting on his throne; many wise men come in 
and bow down before him.] 



38 The Dramatization of Bible Stories 

Pharaoh: Arise, O wise men of Egypt! I have sent 
for you this day because of a dream which troubleth me. 

[Men stand up.] 

Wise Men: What is thy dream, O King ? 

King: I dreamed, and, behold, I stood by a river, and 
there came up out of the river seven fat cows, and they 
fed in a meadow. And, behold, seven other cows came up 
after them out of the river, ill favored and lean. And the 
ill-favored and lean cows did eat up the seven well-favored 
and fat cows. Then did I awake, but the second time I 
slept and dreamed. And, behold, seven good ears of corn 
came up upon one stalk, and, behold, seven thin ears 
sprung up after them, and the seven thin ears devoured 
the seven full ears. And I awoke again, and, behold, it 
was a dream. Now, is there one among you who can tell 
me the meaning of these dreams, for my spirit is troubled 
because of them ? 

[The wise men in turn come out and bow before the king 
and say]: 

First Wise Man: my lord King, thy dream troubleth 
me, but I am not able to interpret it. 

Second Wise Man: O King, also, I cannot tell thee the 
meaning of thy dream. 

Third Wise Man: Most gracious King, I, also, am 
unable to interpret thy dream. 

Fourth Wise Man: great Pharaoh, I regret that I 
am unable to help thee. 

Pharaoh [angrily] : Are ye called the wise men of Egypt, 
and yet are ye not able to interpret a dream ? 
[The chief butler comes forward and falls before the king.] 

Butler: O great King, I am only thy chief butler, but 
I beg of thee allow me to speak. 

King: Speak, butler, what wouldst thou say ? 



Dramatization of " Joseph" 39 

Butler: O King, I do remember my faults this day. 
When Pharaoh was wroth with his servants and put me 
in prison, both me and the chief baker, behold, we dreamed 
a dream in one night, and there was a young man, a Hebrew, 
and we told him, and he interpreted to us our dream. And 
it came to pass as he interpreted unto us, for I was restored 
unto mine office and the baker was hanged. 

Pharaoh: Send for this young Hebrew; bring him into 
my presence. [Servant goes out for Joseph.] Butler, who 
is this boy that interpreted thy dream ? 

Butler: His name is Joseph, O King. He was brought 
down from Canaan by a caravan and was sold to Potiphar, 
the captain of Pharaoh's guard. But he displeased Potiphar, 
so he was thrown into prison at the time thy servants were 
there. 

[Enter Joseph. He falls on his face before Pharaoh.] 

Pharaoh: I have dreamed a dream, and there is none 
that can interpret it, and I have heard say of thee that thou 
canst understand a dream to interpret it. 

[Joseph rises.} 

Joseph: It is not in me; God shall give Pharaoh an 
answer of peace. 

Pharaoh: [Repeats his dream to Joseph.] 

[Joseph comes nearer to Pharaoh.] 

Joseph: What God is about to do he sheweth unto 
Pharaoh: Behold, there will come seven years of great 
plenty throughout all the land of Egypt. And there shall 
arise after them seven years of famine. And all the plenty 
shall be forgotten throughout Egypt, and the famine shall 
consume the land, and it shall be very grievous. Now 
therefore let Pharaoh look out a man discreet and wise and 
set him over the land of Egypt, and let him appoint officers 
over the land. And let them gather all the food of those 



40 The Dramatization or Bible Stories 

good years that come, and lay up corn under the hand of 
Pharaoh. And let them keep food in the cities. And 
that food shall be stored against the seven years of famine, 
that the land may not perish through famine. 

Pharaoh: This plan seemeth good unto me. Can we 
find such a one as this is, a man in whom the spirit of God is ? 

The Wise Men: Nay, King, he is most wise. 

Pharaoh: Forasmuch as God hath shewed thee all this, 
thou shalt be over my house, and according to thy word 
shall all my people be ruled, only in the throne will I be 
greater than thou. See, I have set thee over all the land of 
Egypt. [To his servants:] Bring a golden chain, and fine 
raiment for this man. 

[He puts a ring on Joseph's hand. When the clothes are 

brought they are put around him, the 

chain on his neck, etc.] 

Pharaoh: Thou shalt ride in the second chariot and all 
my people shall bow the knee unto thee. [All people in the 
room bow.] I am Pharaoh, and without thee shall no man 
lift up his hand or foot in all the land of Egypt. 

Joseph: May the Lord God give me power to do his will. 

SCENE III 

Place: Pharaoh's palace. 

Characters: Joseph, His Eleven Brothers, Servants, 
Pharaoh. 
[Joseph is seated on his high seat. A servant comes in.] 

Servant: Master, the men that came down from Canaan 
to buy food of thee have returned and would have a word 
with thee. 

Joseph: Bring them in. [To another servant]: Go 
see that a feast is prepared for these men. 
[The brothers enter bringing Benjamin. They all fall on 
their faces.] 



Dramatization of " Joseph" 41 

Joseph: Arise! And have you returned bringing with 
you your youngest brother ? 

Reuben: O sir, we have brought our youngest brother; 
he is here. 

[Benjamin is led forward. Joseph goes near and puts his 
hand on Benjamin.] 

Joseph: And is this your younger brother of whom ye 
spake unto me? God be gracious unto thee, my son! 
[To the brothers:] Is your father well, the old man of whom 
ye spake ? Is he yet alive ? 

Levi: Thy servant, our father [all bow heads], is in good 
health; he is yet alive. 

[Joseph turns away and begins to weep; he leaves them 

abruptly and walks to the other 

side of the room.] 

Joseph [to the servants]: Cause every man to go out 
from me! [All begin to leave the room, brothers included.] 
[To the brothers. He walks quickly after them and holds 
his arms out toward them.] Stay! I am Joseph; doth my 
father yet live? Come near to me, I pray you. [They 
come somewhat nearer and fall to the ground.] I am Joseph, 
your brother, whom ye sold into Egypt. Now, therefore, 
be not grieved nor angry with yourselves, that ye sold me 
thither, for God did send me before you to preserve life. 
For these two years hath the famine been in the land; and 
yet there are five years more. God hath sent me before 
you to save your lives. Haste ye, and go up to my father, 
and say unto him, "Thus saith thy son Joseph, God hath 
made me lord of all Egypt. Come down unto me, and tarry 
not. And thou shalt be near unto me, thou and thy chil- 
dren, and thy flocks, and thy herds and all thou hast." Oh, 
do you not see that I am Joseph that speak unto you? 
[He weeps again andjurns away.] 



42 The Dramatization of Bible Stories 




Dramatization of "Joseph" 43 

Brothers: Joseph, our brother Joseph! Can he for- 
give us ? 

[Pharaoh enters here.} 

Joseph: O King, these are my brethren, and from my 
father's tent. 

Pharaoh: Say unto thy brethren: "This do ye: Go 
back unto the land of Canaan and take your father and 
your household goods, and come unto me. And I will 
give you the good of the land of Egypt, and ye shall eat 
of the fat of the land. Now ye are commanded: This do 
ye: Take ye wagons out of Egypt for your little ones, and 
for your wives, and bring your father, and come, for the 
good of the land shall be yours." 

One Brother: We thank thee, O great Pharaoh, and our 
brother Joseph. This is greater than we deserve. We will 
bring our father down straightway. 

Joseph: Praise be to God who has done this good thing! 

End 



CHAPTER IV 
THE DRAMATIZATION OF DAVID AND GOLIATH 

When beginning dramatic work with a group of 
children who have never had the training before, 
it is always well to select as the first story to be 
dramatized one that is short, simple in structure, 
and full of action. If children undertake a long 
story which involves complicated situations, they 
easily become discouraged and lose the joy and 
spontaneity which are essential elements in suc- 
cessful dramatizations. Fables, such as "The Boy 
and the Wolf" or "The Fox and the Grapes," 
are excellent to begin with, because they contain 
the necessary qualities which make up a good short 
story. Situations as simple as those which are 
presented in these fables are entered into with 
great freedom, and they seem to pave the way for 
more ambitious dramatizations. 

The story of David and Goliath is short, simple, 
and yet contains vivid action. It was chosen as 
one of the first stories to be given to the dramatic 
club because of these qualities. After the children 
had gone through the experience of dramatizing 
it they had gained a self-confidence and a realiza- 
tion of their own power in interpreting a story 
through dramatization. 

44 



Dramatization of " David and Goliath" 45 

The methods employed in presenting David and 
Goliath were much the same as those described in 
connection with Joseph. The point that must be 
kept in mind in all of this work is that the drama- 
tization of a story begins with the action and that 
the words are developed. The play is never 
written first and acted afterward. 

While telling the story the leader placed much 
emphasis upon the activities and ideals of the 
shepherd life of the Hebrews in the time of David. 
The children made their own armor — helmets, 
swords, shields — from cardboard and colored pa- 
pers. Pictures and descriptions which they secured 
helped them to get correct ideas as to shapes and 
decorations. 

The costumes were simple little slips that could 
be belted in at the waist, and came only to the 
knees. The children helped to plan and make 
them. David made his shepherd staff from a limb 
of a tree, and the soldiers made their spears by 
fastening gilded points to long sticks. 

A question arose as to how the sling was 
made. The children found, upon looking up 
this point, that the sling was woven from differ- 
ent colored wools. From a good picture they 
constructed looms from cardboard and actually 
wove several slings like David's. Fig. 14 shows 
a diagram of the loom as the children worked 
it out. 



46 The Dramatization of Bible Stories 

A very great value was derived from this con- 
struction work, in that it came entirely from the 
children; it was an outgrowth of their genuine 
interest in the subject. They were reliving the 
same experiences and solving the same problems 
that had confronted David. 

The gentle spirit of David had a direct influence 
upon the whole group. It made no difference what 
part a child interpreted — whether that of Goliath 
or of one of the brothers — it was evident that 
David's high ideals and sweetness of character 
called forth admiration. 

Fig. 2 gives one of the scenes from David and 
Goliath. The play follows as it was given. 

DAVID AND GOLIATH 

Characters: David, David's Three Brothers, King 
Saul, Goliath, Israelite Soldiers, Philistine Soldiers. 

SCENE I. THE CHALLENGE 

Place: On the battlefield. 

First Brother: Have ye seen this Philistine who is come 
up, this giant who has defied the armies of the living God ? 

Second Brother: Who has seen him ? 

Third Brother: I have seen him; he is verily a giant. 
His height is six cubits and a span. He weareth an helmet 
of brass upon his head, and he is armed with a coat of mail, 
and he hath greaves of brass upon his legs, and the staff of 
his spear is like the weaver's beam; and one bearing a 
shield goeth before him. Our soldiers are truly afraid. 
They flee as he approacheth. 



Dramatization of " David and Goliath" 47 




48 The Dramatization of Bible Stories 

Goliath [apart from the king and soldiers] : Why are ye 
come out to gather your armies to battle ? Am I not a 
Philistine, and ye servants to Saul? Choose you a man 
for you, and let him come down to me. If he be able to 
fight with me, and to kill me, then will we be your servants; 
but if I prevail against him and kill him, then shall ye be 
our servants and serve us. I defy the armies of Israel this 
day; give me a man, that we may fight together. 
[Some of the soldiers turn and flee.] 

Saul: Hear the words of this Philistine. I know not 
what we can do. Have we no man among us with the 
strength or boldness to fight this giant ? I will enrich him 
with great riches. 

Second Brother: In truth, he is a mighty giant, O King. 
Our soldiers are greatly dismayed; no one will accept this 
challenge. 

[The king and two soldiers go out. Enter David. He runs 
up to his brothers and salutes them.] 

First Brother: This is David, our younger brother! 
How cometh it that thou art here ? 

Second Brother: I thought we left thee tending the sheep. 

Third Brother: What news dost thou bring of our 
father ? Is all well with him ? 

David: My father commanded me, saying, "Take now 
for thy brethren this parched corn and these ten loaves, 
and run to the camp of thy brethren; and carry these ten 
cheeses unto the captain of their thousand, and look how 
thy brethren fare.' r ' And I rose up early in the morning, 
and left the sheep with a keeper, and came as my father 
commanded. 

[Brothers take food from David.] 

Goliath: Why are ye come out to gather your armies 
to battle ? Am I not a Philistine, and ye servants to Saul ? 



Dramatization of " David and Goliath" 49 

Choose you a man for you and let him come down to me. 
If he be able to fight with me and to kill me, then will we be 
your servants; but if I prevail against him and kill him, then 
shall ye be our servants and serve us. I defy the armies of 
Israel this day; give me a man, that we may fight together. 
[David listens. The soldiers seem disturbed and frightened.} 

David: What meaneth this ? 

Soldier [walks up to David] : Have ye seen this man who 
is come up ? Surely to defy Israel is he come up. And 
it shall be that the man who killeth him the king will enrich 
with great riches, and will give him his daughter, and make 
his father's house free in Israel. 

David: Who is this Philistine that he should defy the 
armies of the living God ? 

First Brother [showing anger against David]: Why 
earnest thou hither ? And with whom hast thou left those 
few sheep in the wilderness? I know thy pride, and the 
naughtiness of thy heart; for thou art come down that thou 
mightest see the battle. 

David: What have I now done ? [He turns from his 
brothers and speaks to the people.] What shall be done with 
the man that killeth this Philistine and taketh away the 
reproach from Israel? For who is this Philistine that he 
should defy the armies of the living God ? I will fight him, 
and if I prevail against him and kill him, then will the 
Philistines be our servants and serve us. The Lord God 
of Israel will deliver him into my hands. 

Soldiers: Saul, the king, shall hear these words! 

SCENE II. DAVID BEFORE SAUL 

Place: Saul's tent. 

David [comes in and salutes the king]: Let no man's 
heart fail because of this giant; thy servant will go and 
fight with this Philistine. 



50 The Dramatization of Bible Stories 

Saul: Thou art not able to go against this Philistine 
to fight with him; for thou art but a youth, and he a man of 
war from his youth. 

David: Thy servant kept his father's sheep, and when 
there came a lion or a bear, and took a lamb out of the 
flock, I went out after him and smote him, and delivered it 
out of his mouth; and when he rose up against me, I caught 
him by the beard and smote him and slew him. Thy 
servant slew both the lion and the bear; and this Philistine 
shall be as one of them, seeing he hath defied the armies of 
the living God. The Lord that hath delivered me out of the 
paw of the lion, and out of the paw of the bear, he will 
deliver me out of the hand of this Philistine. 

Saul: Go, and the Lord go with thee. [To soldiers]: 
Bring' forth armor; this youth must be ready to meet 
the foe. 
[The soldiers bring armor. Saul puts the armor, a helmet 

and a coat of mail, on David. David puts on his sword, 

then walks a few steps. He suddenly throws the sword down 

and begins to take of the armor.] 

David: I cannot go with these, for I have not proved 
them. [He takes the armor of and keeps only his shepherd's 
staff and sling.] The Lord that delivered me out of the 
paw of the lion, and out of the paw of the bear, he will 
deliver me out of the hand of this Philistine. 

[He bows to the king and goes out.] 

SCENE III. THE BATTLE 

Place: The battlefield. 
[David picks up five smooth stones and puts them into his 
shepherd bag. Goliath comes toward him. He is 
dressed in armor, and the man that bears his shield comes 
before him. Goliath looks surprised and disgusted when 
he sees David.1 



Dramatization of " David and Goliath" 51 

Goliath: Am I a dog that thou comest to me with 
staves? Come to me and I will give thy flesh unto the 
fowls of the air and unto the beasts of the field. 

David: Thou comest to me with a sword, and with a 
spear and with a shield; but I come to thee in the name of 
the Lord of hosts, the God of Israel, whom thou hast defied. 
This day will the Lord deliver thee into mine hand; and I 
will smite thee, and take thy head from thee; and I will 
give the bodies of the Philistines unto the fowls of the air, 
and unto the beasts of the field, that all may know that there 
is a God in Israel. And all this assembly shall know that 
the Lord saveth not with the sword and with the spear, for 
the battle is the Lord's and he will give you into our hands ! 
[David puts his hand into his bag and takes out a stone and 

slings it, so that it hits the giant in the forehead. The 

giant falls. The Philistines flee. David stands with his 

foot on the body of the giant.} 

Israelite Soldiers with David: The battle is the Lord's! 

End 



CHAPTER V 

THE DRAMATIZATION OF MOSES IN THE 
BULRUSHES 

The method of presenting the story of Moses 
in the Bulrushes differed somewhat from that em- 
ployed with Joseph. There was little need to tell 
the story at the beginning, for every child already 
knew it in detail. Consequently the leader had 
the children tell most of it, while she supplemented 
and directed attention to important parts. 

In this case the entire play was planned roughly 
before any of it was acted. The story was criti- 
cized by the children as to its organization and 
unity, and as a result they made up an ending 
(Act III) which they felt was needed to make the 
story complete. Experience with the other plays 
had led the children to feel the necessity for having 
a satisfactory ending after the climax. 

At the second meeting several girls brought 
in the scenes as they had written them out. They 
had tried to embody the points which the children 
had decided upon as the general plan of the play. 
The final play varies very little from these scenes 
thus written by the girls themselves. 

There was no difficulty in solving the problem 
as to what they would do for a baby in the first 

52 



Dramatization of "Moses" 53 

part of the play. Many dolls were brought in, 
and the choice fell upon the one that received the 
largest number of votes because of his likeness 
to the baby Moses. A woven basket served for 
the cradle of bulrushes. There were many re- 
hearsals when there was no doll or cradle, but the 
children never felt the lack. Their imaginations 
can supply all needs. 

A few big Egyptian designs were made for the 
first and last scenes, which were placed in the king's 
court. These were fastened on the walls and around 
the king's seat, as was done in the play of Joseph. 

Before the play was given before parents and 
friends the children decided to call it The Childhood 
of Moses. An older boy in the church printed 
programs for the occasion that the audience might 
better understand the play. They read as follows : 

The Childhood of Moses 

Dramatized and Presented by the Children's Dramatic Club 
of the Hyde Park Church of Disciples 

CHARACTERS 

Pharaoh King of Egypt 

Princess Pharaoh's Daughter 

Moses A Hebrew Boy 

Hebrew Woman Mother of Moses 

Miriam Sister of Moses 

Aaron Brother of Moses 

Wise Men Advisers of Pharaoh 

Soldiers, Attendants to the Princess, 
Servants 



54 The Dramatization of Bible Stories 

SYNOPSIS OF SCENES 

Act I. Pharaoh orders the killing of Hebrew boys. 
Act II, Scene i. In the home of a Hebrew family. 

Scene 2. A Hebrew mother hides her child among 
the bulrushes. 

Scene 3. The child is found by Pharaoh's daughter. 
Act III. Moses is brought to Pharaoh's court. 

The following is the play as it was given : 

THE CHILDHOOD OF MOSES 
Act I 

Characters: King, Wise Man, Chief Adviser, Queen, 
Maids, and Soldiers. 

King: Behold, the people of the children of Israel are 
more and mightier than we. Come, let us do wisely with 
them lest they rise up and make war against us. 

Chief Adviser: What more can we do than we have 
already done ? We have made their lives bitter with hard 
service, and we have made them carry our brick and mortar 
and work in our fields. 

Wise Man: O King Pharaoh, I beg thee to let me speak. 

King: Speak, Wise Man. 

Wise Man: O King, I pray thee to be kind to these 
people. When these Hebrews first came down from the 
land of Canaan, a young man named Joseph saved our land 
from great famine. These Israelites are his children's 
children and we should treat them kindly. 

King: Treat them kindly! We have been kind to them 
long enough; we must destroy them. I will command that 
every Hebrew boy baby be killed! 

[Exeunt King and courtiers followed by soldiers.] 

Princess: O most gracious father, have mercy upon them . 



Dramatization of "Moses" 55 

Act II 

SCENE I 

Place: The home of a Hebrew family. 

Characters : Moses, Mother of Moses, Miriam, Aaron. 
[The mother is singing to the baby in her lap. Aaron is 
playing on the floor. Miriam runs in.] 

Miriam: O mother! The king has commanded that 
all the boy babies be thrown in the river ! How can we save 
our baby ? 

Mother: Where shall we take him ? I have hidden him 
for these three months, but he is so big now and his cries 
are so loud that they will be sure to find him wherever we go. 

Miriam: Come quickly, mother; we will go to the river 
and hide him nearby. Pharaoh cannot find him there, 
for he will think that he has been thrown in the water. 

Mother: O my poor baby! 

[The three run out.] 

SCENE II 

Place: The river bank. 

Characters: Moses, Mother of Moses, Miriam. 
[The mother appears with the baby in her arms. Miriam 
follows.] 

Miriam: O mother! We can hide him in these tall 
grasses! 

Mother: But I must have something to put him in. 
Gather these rushes and I will weave a little cradle for him, 
[They both pick bulrushes and the mother weaves the basket.] 

Mother: How can I leave him here alone ? My little 
daughter, will you stay and watch and bring me word 
quickly if anything happens ? We will hide the baby in 
this basket among the flags, here at the edge of the water. 



56 The Dramatization or Bible Stories 

Miriam: Good! Mother, I will hide nearby and see 
that no harm comes to our baby. 

[The mother kisses the baby and puts him in the basket, then 
rises and turns away.] 

Mother: Keep watch until I return. 

[Exit mother; Miriam hides.] 

SCENE III 

Place : The river bank. 

Characters: The Princess, Her Maidens, Soldiers, 
Moses, Mother-of Moses, and Miriam. 

[Several soldiers walk across the stage. Enter Princess and 
her maids.] 

Princess [looking around]: What beautiful clear water 
for my bath ! 

First Maid: Yea, Princess. Will you bathe here ? 
[A baby's cry is heard.] 

Princess: What is it I hear? It sounds like a baby 
crying! Look about, maidens! Is there something here? 
[All look about.] 

Second Maid [finds baby; all come running up to her]: 
See what is here! 

Princess: A baby hidden in a basket! Bring him 
to me! 
[Third maid hands basket to Princess, who takes the baby out.] 

Princess: Oh, what a beautiful baby! He is mine, for 
I have found him! A Hebrew baby! His mother has 
hidden him in the bulrushes to save his life. 

[Miriam runs out.] 

Miriam: Lady, would you like a nurse for that baby? 
Princess: A nurse for him ? Yes, I do need a nurse. 



Dramatization of "Moses" 57 

Miriam: I can get you one very quickly. 
Princess: Go bring her, child; I will wait here. 

[Miriam goes away running.] 
Princess: He is my boy, and I will call him Moses, for 
I drew him out of the water. 

[Enter the mother and Miriam.] 
Miriam: Here is the nurse, lady. 

Princess: Will you take good care of this baby for me 
until he becomes a youth ? I will pay you wages. I am 
the Princess, King Pharaoh's daughter. I will see that he 
is educated as a prince in my father's court. 

[Princess and her maids go out.] 
Mother: My boy is saved! My boy is saved! 

Act III 

SCENE I 

Place: Pharaoh's palace. 

Characters: King Pharaoh, Princess, Maids, Soldiers, 
Wise Men, Mother of Moses, Moses, Miriam, Aaron. 
[King sits on his throne, wise men and soldiers around. 
Enter messenger.] 

Messenger: O King, the Princess awaits without and 
would have speech with thee. 

King: Bid her enter. 

[Enter Princess and a jew attendants.] 

Princess: O gracious King and father, I have a request, 
and I beg that you grant it. 

King: Speak, my Princess; do I not always grant what 
you ask ? 

Princess: Yes, father, and I know that you will grant 
me this. Several years ago I adopted a son and I ask that 
you allow him to be educated in your palace. 



58 The Dramatization of Bible Stories 

King: Adopted a son! What can be the meaning of 
this ? I never heard of this ! Where did you get the boy ? 

Princess: I found him, a little baby, hidden among the 
rushes by the river bank. 

King: Why was he hidden ? That is strange ! 

Princess: He is. a Hebrew boy, O father. 

King: A Hebrew boy! Did I not command that every 
Hebrew boy should be killed ? 

Princess: I must take the blame; I had his life spared. 
Will you not let him be brought here ? 

King: No, I will not ! No Hebrew boy shall be brought 
here! 

Princess: If you would only see him, he is so beautiful, 
you would love him as I do. He is without; permit me 
to show him to you. 

King: Bring him in. 
[Maid goes to get Moses. Moses enters with his mother, 

Miriam, and Aaron. Princess leads him to the King.] 

Princess: This is my son. Is he not a wonderful boy ? 

King: He is fair to look upon, but yet he is a Hebrew. 

Princess: my father, forget that he is a Hebrew and 
remember only that he is my son. 

King: O my Princess, for your sake, I accept this boy. 
I leave his training to you. May he grow up to be a prince 
worthy of the house of Pharaoh. 

End 



CHAPTER VI 
THE DRAMATIZATION OF RUTH 

Ruth was dramatized by the club during the fall 
of the year because it is a story of the Hebrew 
harvest time. In order fully to interpret the life 
of Ruth it was necessary for the children to secure 
information concerning the barley harvest in 
ancient Palestine, and also to become familiar with 
the old customs involved in the story. Many chil- 
dren brought pictures which illustrated the points 
under discussion, and some of them contributed by 
telling what they had been able to read at home. 
Independence on the part of the children in looking 
up data was always encouraged by the leader ; the 
information which she had to give enriched and 
supplemented that which was brought in by them. 

During the process of this dramatization con- 
stant comparisons were made with our own harvest 
time, and the study of the Hebrew harvest feasts 
and festivals served to increase the understanding 
and appreciation of our one harvest festival at 
Thanksgiving. 

The method of procedure in presenting this story 
for dramatization follows closely that described in 
connection with Joseph. The Bible version of 

59 



60 The Dramatization of Bible Stories 

Ruth is so simply and beautifully told that it 
needed very little adapting. When it was first 
given to the children parts of it were read and 
parts were told by the leader. Many scenes were 
then planned, but these were soon cut down to 
the three necessary scenes. From the first the 
children used much of the Bible language as they 
acted the story. The beauty and the poetry of 
it caused them to remember readily the exact 
wording in many cases. 

Seven meetings were required before the group 
was satisfied with the play as a product of their 
best effort. As was the case with the other plays 
given by the club, the children who were to take 
the parts in the final presentation were selected 
by the group and not by the leader in charge. 
Every child knew each part and could represent 
any character, but children were chosen for specific 
parts because they seemed to represent certain 
characters unusually well. 

The dramatization of this story called for much 
construction work. The reapers made their sickles 
of cardboard and covered them with gold or silver 
paper or painted them. They found pictures which 
gave the shape, and from these they cut the pat- 
terns (Fig. 15). One little girl brought a real sickle 
which had once belonged to a Filipino. It gave 
her happiness to reap with it, but the others were 
just as content to use the sickles from cardboard. 



Dramatization of "Ruth" 6i 

The need for a harvest song was felt, and in 
consequence a little song that most of the children 
knew was decided upon. The reapers sang it as 
they reaped and while Boaz was walking through 
his grain field. There was no real grain nor any- 
thing to represent it, the children deciding to leave 
this to the imagination. The action of the reapers 
and the words that were spoken gave evidence 
enough that grain was growing there. 

There was very little stage setting used in the 
play. The stage was bare in the first scene in order 
to represent the road from Moab to Bethlehem. 
In the second scene a big earthenware jar was 
needed from which the reapers could drink. The 
third scene required a box which represented a 
seat by the city gate; the door which led off the 
stage at the side was used for the gate. 

The action and the grouping of people in the 
third scene required careful planning by the chil- 
dren. Women came through the gate and passed 
down the street with water jugs on their shoulders ; 
men gathered in groups to discuss bits of news; 
Boaz walked toward the gate and sat waiting for 
his kinsman. Finally, when the cousin appeared, 
Boaz hailed him and had him sit down. The 
citizens who were standing near were asked to be 
witnesses in this business transaction. That one 
man should take off his shoe and hand it to another 
was a custom that created much interest among the 



62 The Dramatization of Bible Stories 

children. They began to examine pictures for the 
kinds of shoes that were worn, and this led many of 
them to wear their own sandals, which approached 
most nearly to those seen in the pictures. The chil- 
dren who did not own sandals tried to make them 
with cardboard and strips of cloth (see Fig. 26). 

The costuming was very simple. The reapers 
wore the same little brown slips which had been 
worn in every play that had been given. Boaz 
enriched his costume by wearing brighter colors 
in his headdress and girdle and by wearing a slip 
that was longer than the others. 

The play follows as it was finally given. 

RUTH 

SCENE I 

Place: In Moab, on the road to Judah. 

Characters: Naomi, Ruth, Orpah. 

Setting: Naomi, Ruth, Orpah, are on the road going 
toward Judah. 

[Naomi stops and faces about.] 

Naomi: Turn back, my daughters-in-law; return each 
of you to your mother's house. You have come with me 
far enough. I must take the rest of my journey alone. 

Orpah and Ruth: Oh, do not send us back! We will not 
leave thee! 

Naomi: Yea, you must leave me now. I am going 
home to my own country and my own people, to Bethlehem, 
Judah! It is ten long years since I left there to come to 
dwell in your land of Moab. But now that the famine is 
over I must return. 



Dramatization of "Ruth" 63 

Or pah: But, Naomi, our mother-in-law, we love thee. 
Do not thou leave us! 

Naomi: I must go. I came to this country happy — 
with my husband and two sons — but misfortune has dealt 
bitterly with me. My husband first died, and now my two 
sons, your husbands, are taken from me. I am old and sad. 
I have no one left to comfort me. I must go back to mine 
own people. Leave me, my daughters, and God bless you! 
[Both daughters weep.] 

Orpah [weeping and kissing Naomi]: If thou wilt be 
happier, then thou must leave us. I will return to my 
mother's house as thou sayest. [She goes of slowly, weeping.] 
[Ruth still stands by weeping. Takes hold of 
Naomi's hand.] 

Naomi: Behold, Orpah, thy sister-in-law, has gone 
back to her people and unto her gods; return thou after thy 
sister-in-law. 

Ruth: Intreat me not to leave thee, nor to return from 
following after thee: for whither thou goest, I will go; 
and where thou lodgest, I will lodge; thy people shall be 
my people, and thy God my God: where thou diest, will 
I die, and there will I be buried: the Lord do so to me, and 
more also, if aught but death part thee and me. 

Naomi: Since thou art so steadfastly minded to go with 
me, Ruth, I will cease urging thee. Come, thou mayest 
go with me to Bethlehem. 

SCENE 11 

Place : In the barley fields of Boaz. 
Time: The harvest season. 

Characters: Boaz, Ruth, Head Reaper, Reapers, 
Gleaners. 

[The reapers come in with their sickles, followed by 
the gleaners.] 



64 The Dramatization of Bible Stories 

Head Reaper: Truly we have a wonderful harvest this 
year! 

First Reaper: Yea, we will have food enough for our- 
selves and for all the poor in our city of Bethlehem. 

Head Reaper: It is the great God that hath given us 
this bounty. 

[All sing harvest song as they reap. While they are singing 
Ruth comes in and begins to pick up the grain.] 

Second Reaper [looking toward the entrance to the field]: 
The master is coming, the great Boaz! 

[All reapers look in that direction as they stand, resting their 
sickles on the ground. Boaz enters.] 

Boaz: The Lord be with you ! 
Reapers: The Lord bless thee! 

[All go to work again, singing as before. Boaz walks among 
them; he sees Ruth and watches her.] 

Boaz [to the Head Reaper]: My good man, I would 
speak a word with thee; come hither. 

Head Reaper: Speak, O master! 

Boaz: Whose damsel is this that gathereth grain after 
the reapers ? 

Head Reaper: My master, she is Ruth, the Moabitish 
damsel that came back with Naomi, thy kinswoman. She 
hath been gleaning here since early morning. 

Boaz: Go, bid the reapers not to harm her, and bid 
them let fall purposely some of the handfuls of grain for her. 

[The Head Reaper bows low and goes back among the reapers.] 

Boaz [to Ruth]: Hearest thou not, my daughter? Go 
not to glean in another field, but stay here by my reapers. 
Let thine eyes be on the reapers, and do thou glean that 
which they leave behind. When thou art athirst, go unto 
the vessels and drink that which the young men have drawn. 



Dramatization of "Ruth" 65 

Ruth [bows to the ground] : Why have I found such favor 
in thine eyes, seeing that I am a stranger in the land ? 

Boaz: It has been told me of thy great kindness to thy 
mother-in-law, Naomi; how thou didst leave thine own 
people to come with her and be among strangers; and how 
thou didst leave thy gods to take the God of the children 
of Israel. The Lord will bless thee for this. 

Ruth: I thank thee, O great Boaz, for thou hast com- 
forted me and thou hast spoken friendly words unto me. 

Boaz: Come hither at meal times and eat of the bread 
and dip thy morsel in the vinegar with my reapers. 

[The reapers have departed. Boaz goes of.} 

Ruth: The Lord God is truly good unto me ! 

SCENE III 

Place : At the gate of the city. 

Characters: Boaz, a Cousin of Naomi, Ten Citizens, 
Ruth, Naomi. 

[Several citizens stand in groups, talking. Boaz enters.] 

Boaz [speaks to one of the group}: Hast thou seen my 
cousin pass this way ? I am seeking him. 

First Citizen: Nay, good sir, I have not seen him. 

Boaz: I must speak with him; I will wait here by the 
city gate; perchance he will come soon. 

[One or two citizens pass by and speak to Boaz, saying, 
"Good-day, sir." Enter Kinsman.] 

Boaz: Ho, Kinsman, turn aside! I would have a word 
with thee. Sit thee down. 

[Kinsman sits down.} 

Kinsman: What wilt thou, Cousin ? 
Boaz: I would speak about a matter of importance; 
wait thou here until I can bring witnesses. [He turns to 



66 The Dramatization of Bible Stories 

citizens.] A piece of land is about to be sold; will ten 
citizens witness this deed ? 

Citizens: Aye, indeed. [They come forward.] 

Boaz: Sit ye down here. [They sit down.] [To 
Kinsman]: Dost thou remember Naomi, our kinswoman, 
who went with her husband and two sons to the land of 
Moab? 

Kinsman: Yea, I do know Naomi. 

Boaz: She selleth a parcel of land which was her hus- 
band's. Now, thou art nearest of kin to Naomi, so I 
thought to advise thee that thou mayest have the first 
chance to redeem the land in the presence of the elders of 
the city. If thou dost not care to redeem it, then the right 
to redeem it cometh to me, for I am next of kin. What 
wilt thou do ? 

Kinsman: I will buy the land from our kinswoman, 
Naomi. 

Boaz: On the day that thou buyest the field from the 
hand of Naomi, thou. also takest Ruth, the Moabitess, for 
thy wife, according to our custom and law. 

Kinsman: Then I will not redeem the land, for I cannot 
take Ruth for my wife. Take thou my right to redeem it 
and buy it for thyself. 

Boaz [taking of his shoe and giving it to the Kinsman, he 
says to the witnesses]: Ye are witnesses this day that I 
have bought this parcel of land from Naomi and that I buy 
also, as my wife, Ruth, the daughter-in-law of Naomi. Of 
all this ye are witnesses. 

Citizens: We are witnesses. [Bow.] 

[Kinsman returns shoe to Boaz and walks of. Ruth and 
Naomi come through the street.] 

Boaz: Ye are well met, Naomi, my kinswoman, and 
Ruth. I have good news for you; I have bought your land 



Dramatization of "Ruth" 67 

and I can now take Ruth for my wife. Come, all ye fellow- 
citizens, for the wedding feast is prepared at my house! 
[Takes Ruth by the hand.] 

Naomi: Blessed am I that I should live to see this good 
thing come to pass! The Lord hath been most gracious 
unto me ! 

End 



CHAPTER VII 
THE DRAMATIZATION OF QUEEN ESTHER 

The story of Esther involves a much more com- 
plicated situation than any of the others here 
described. It is not too difficult for dramatiza- 
tion, however, if it is taken after such stories 
have been worked out as David and Goliath and 
Joseph. 

In the case of this dramatic club the story of 
Esther was told to the children after they had had 
much experience with other plays. The interest- 
ing plot and the beauty and richness of the court 
made so great an appeal to them that they were 
eager to begin the dramatization. The story was 
first simplified and adapted by the leader, and then 
told in such a manner as to emphasize the main 
events. The method of procedure followed that de- 
scribed in chapter iii in connection with the story 
of Joseph. After the telling of the story the scenes 
were selected. These were acted out very freely 
at first, little thought being given to the words. 
Many pictures were brought in, and descriptions 
of the court of King Ahasuerus were read by the 
children from the Bible and from books of Bible 
stories. 

68 



Dramatization of " Queen Esther" 69 

In the second scene the children decided to have 
the maidens dance before the King. Several little 
girls who were trying out the part of Esther made 
up dances for themselves. This feature made this 
scene especially attractive. 

This play was longer than those that had pre- 
viously been dramatized, and it therefore took a 
longer period of time to bring it into final shape. 
There is no reason to hurry a dramatization. If 
the aim of this kind of work is kept in mind, there 
will be growth on the part of the children at each 
meeting. The value lies, not in how many stories 
can be dramatized during a year, but in how 
thoroughly the children are reliving a few good 
stories. 

The play of Queen Esther made it necessary to 
construct several articles. Gold dishes of various 
kinds were made by covering cardboard with gold 
paper. These were used at the Queen's banquet. 
From the many scepters that were submitted the 
King chose the one for final use. Elaborate gowns 
and headdresses were gathered; beads and jewels 
of all descriptions were made from brilliantly 
colored papers. 

The children took the responsibility of the cos- 
tuming. The majority of them planned their own 
garments and either brought things from home or 
selected some suitable costume from those which 
the club had on hand. Two of the older girls 



70 The Dramatization of Bible Stories 

took entire charge of the younger ones and saw 
to it that each had some simple slip to wear in 
the play. 

The play follows as it was finally worked out by 
the children. 

THE STORY OF QUEEN ESTHER 

SCENE I 

Place : The King's palace — Shushan. 
Characters: King Ahasuerus (king of Media and 
Persia), Haman (chief counselor), Persian Princes, 
Servants. 
[The King is seated on his throne, princes seated before the 
King, and Haman is seated by the King's side. 
Servants are bringing drinks in golden vessels.] 

King: The seventh day of this feast hath come, and 
on this day will I bring my beautiful Queen, Vashti, before 
you. The princes of my land must depart, bearing a good 
report of my fair Queen as well as of the great riches of my 
court. Chamberlains, come forth! [The servants come 
before the King and bow.] I command you to bring Vashti, 
the Queen, before my presence. [Servants withdraw.] 

First Prince: O King, this is a great honor that thou 
bestowest upon us ! 

Second Prince: Yea, Vashti, the Queen, is already 
known over the land for her wondrous beauty. We are 
most happy that thou wilt allow thy servants to behold her- 

Third Prince: What wonderful tidings we will spread 
over thy provinces, King. Thy people do not know the 
half of thy riches and thy wonderful greatness and gener- 
osity. 

[Enter servants. They bow low.] 



Dramatization of " Queen Esther" 71 

King: Rise ; what is thy message ? 
[They do not rise.} 

First Servant: King, be merciful unto us! 
[They bow lower.} 

King: What meaneth this? Speak! [in astonishment} 
I command thee. Where is the Queen ? 

Second Servant: O great King, we delivered thy mes- 
sage as thou didst command, but the Queen has refused 
to come before thy presence. 
[All the princes and the King show surprise and anger.} 

King: Refused to obey me ? This is impossible ! Are 
ye certain that she understood the meaning of my com- 
mand ? 

Servants: We are, O King. 

King: She hath refused! It cannot be! [He looks 
absently away.} She must be punished. 

Raman: What shall we do to Queen Vashti according 
to the law, because she hath not performed the command- 
ment of King Ahasuerus ? 

First Prince: She hath not done wrong to the King 
only, but also to all the princes of the land, for this deed of 
the Queen shall become known unto all the women of Media 
and Persia and they shall despise the command of their 
husbands: "Because," they shall say, "King Ahasuerus 
commanded Vashti, the Queen, to be brought before him 
and she came not." 

Second Prince: What shall we do ? This will cause 
great trouble and disobedience. 

King: What thinkest thou, Haman, my chief counselor ? 

Raman: If it please the King, let there go forth a royal 
commandment and let it be written among the laws of the 
Medes and Persians that Vashti come no more before 
Ahasuerus, and let the King give her royal estate to another 



72 The Dramatization of Bible Stories 

that is better than she. Then when this decree shall become 
known all wives shall give honor unto their husbands. 

King: This saying pleaseth me greatly. I shall do 
accordingly. [To servants]: Send letters unto every 
province to every people, which shall state this decree, so 
that every man shall know it. 

Raman: O King, I pray thee, let there be fair maidens 
brought before thee from which thou shalt choose another 
which shall be thy Queen. 

King: So be it! See that fair maidens from every 
province be brought here to my palace; and the one that 
pleaseth me best, I will take her for my Queen. 
[All bow.] 

SCENE II 

Place: At Shushan, the palace. 

Characters: King Ahasuerus, Mordecai, Maidens, 
Haman, Servants, Courtiers. 
[Two servants are standing in the court room of the palace. 
Enter a messenger followed by Esther and Mordecai.] 

Messenger [announces to the servants in the room]: This 
maiden has come to see the King. 

[He goes out.] 

First Servant: This is the place. Wait thou here. 
[To Mordecai] : What art thou here for ? Thou wilt have 
to depart. 

Mordecai: I only brought this maiden. I beg of thee 
let me have a few words with her; then I will withdraw. 

First Servant: Speak then quickly, before the King 
cometh. 

[Servants withdraw to another part of the room.] 
Mordecai [taking Esther's hand]: Esther, my child, 
thou art like my very child, for although I am but thy 



Dramatization of " Queen Esther" 73 




74 The Dramatization of Bible Stories 

uncle I have been as a father to thee. I bid thee farewell 
now, for it seemeth to me that the King will surely choose 
thee to be his Queen — thou art so fair. This one thing 
remember, tell him not that thou art a Jewess. Fare thee 
well, Esther! May the Lord bless thee! 
Esther: Farewell to thee, Mordecai! 
[Mordecai goes out. Other maidens come in announced by 
the messenger .] 

Messenger: These maidens would see the King. 

[The servants show them where to sit. Enter second 
messenger.] 

Second Messenger: The King! The King! 

[Enter King and Haman. King sits on his throne.] 

Second Servant [bowing before the King]: O King, the 
maidens from all parts of the country have arrived and 
await thy pleasure. 

King: Let them come before my presence one at a 
time, and I will choose from among them the one that 
seemeth most fair. 

[The musicians begin playing and, one by one, the maidens 
come out. They bow and dance. Esther comes last of 
all. As Esther dances the King speaks.] 

King: What marvelous beauty! Surely this maiden 
is fair enough to be my Queen. 

Haman: Yea, O King, thou art right; she should be 
thy Queen. 

King [takes Esther's hand]: What is thy name, fair 
maid? 

Esther: My name is Esther, O King. 

King: Esther, I do here take thee to be my Queen. 
Bring the royal crown and the Queen's robes! 

[Servants come immediately and put them on her.] 



Dramatization of " Queen Esther" 75 




76 The Dramatization of Bible Stories 

King [leading Esther out]: Come unto the wedding 
feast which is now prepared. All are welcome! 

SCENE III 

Place: The palace gate. 

Characters: Haman, Mordecai, Servants, Esther. 

[Servants are standing and walking by the gate. Women 
come by carrying water jars. Mordecai stands apart 
from the crowd. Herald comes in.} 

Herald: Bow the knee, bow the knee.' The chief 
counselor, Haman, approacheth! Thus saith the King. 

[Haman comes in. All bow to him except Mordecai.] 

Haman [pointing to Mordecai]: Who is this man who 
doth not bow the knee to me ? 

First Servant: He is Mordecai, the Jew, my lord. [To 
Mordecai]: Why dost thou break the King's command- 
ment? 

Haman: Thou Jew! Dost thou think that thou art 
mightier than I, whom the King hath set above all the 
princes of the land ? Thou shalt suffer for this. [Turns to 
servant.} Send letters unto all the King's provinces, to 
destroy, to kill, and to cause to perish all Jews, both young 
and old, little children and women, in one day — even upon 
the thirteenth day of the twelfth month, and to take the 
spoil of them for prey. 

[Servant bows and goes away. Haman passes on, leaving 
Mordecai with two servants. Mordecai, in deep 
thought, walks anxiously up and down.} 

I Mordecai: I must see Queen Esther. Canst thou not 
i take me to the Queen ? 

Second servant [laughing scornfully] : Thinkest thou that 
the Queen will see thee ? 



Dramatization of "Queen Esther" 77 

Mordecai: Give the Queen this paper and say to her 
that I, Mordecai, the Jew, bid her come to me. 

[Servant withdraws] 

Mordecai [walking, talks to himself}: Israel, O Israel, 
my people! You shall not perish. Esther, your Queen, 

will save you. 

[Enter Esther.] 

Esther: Mordecai, my uncle, why art thou here? 
Thou lookest unhappy. Hath aught happened to thee ? 

Mordecai: Yea, Esther, I am unhappy. I have sorrow- 
ful news to tell thee. 

Esther: Chamberlains, withdraw! Speak, Mordecai; 
tell me quickly. It may be that I can help thee. 

Mordecai: Esther, thou canst help me, and thou art 
the only one who can. Haman, the King's counselor, 
hateth the Jews — thy people and mine. He hath sent a 
decree over all the country commanding that every Jew, 
both old and young, little children and women, be killed 
on the thirteenth day of the twelfth month. Esther, thou 
must save thy people and thyself ? Thou must go before 
the King and beg of him that he spare thy people. 

[Esther shows great distress.] 

Esther: Oh, what shall I do ? Dost thou not know that 
for one who dareth to go before the presence of the King, 
if the King hath not called him, there is certain death; 
except to whom the King shall hold out the golden scepter — 
he may live? I have not been called to come in unto the 
King these thirty days. He will surely put me to death 
for such boldness. 

Mordecai: Thou must go unto the King even so. 
Think not that thou wilt escape death from Haman because 
thou art in the King's house. Who knoweth but that thou 
hast been made Queen for such a time as this! 



78 The Dramatization of Bible Stories 

Esther [after thinking deeply]: Go, gather together all 
the Jews that are present in Shushan, and fast ye for me, 
and neither eat nor drink for three days, night or day; 
I also and my maidens will fast likewise — and so I will go 
in unto the King, which is not according to the law, and if 
I perish, I perish. 

Mordecai: May the Lord go with thee! 

SCENE IV 

Place: In the court of the King's palace. 
Characters: King Ahasuerus, Esther, Haman, Court- 
iers, Servants. 
[The King sits on his throne. Queen Esther enters and 
bows before the King. The King looks at her 
in astonishment.] 
Courtiers [in loud whispers] : The Queen ! It is the Queen ! 
King: Esther, hast thou dared to come before my 
presence when I have not called thee ? Thou surely dost 
not know what thou art doing! This act of boldness can 
mean thy death! But thou art so beautiful, Esther, I 
cannot be hard with thee. Rise! [He holds out the golden 
scepter.] What is the request that has brought thee here ? 
It shall be given thee, even though it be half of my kingdom. 
[Esther touches the scepter and rises.] 
Esther: If it seemeth good unto the King, let the King 
and Haman come this day unto the banquet that I have 
prepared for them. 

[She turns and goes out.] 
King: Hearest thou, Haman? Make haste and let 
us do as Esther hath said. Come, we will prepare for this 
banquet. 

[Haman bows. The King and Haman go out. Others 
follow.] 



Dramatization of " Queen Esther" 79 




80 The Dramatization of Bible Stories 

SCENE V 

Place: The Queen's apartment. 

Characters: Queen Esther, King Ahasuerus, Haman, 
Servants, Mordecai. 

[The servants are preparing the feast. Enter Esther.] 

Esther: See ye that the feast is in readiness, for the 
King will soon arrive. 

[Servants bow.} 

Servant: The King cometh! 

Esther [going to meet the King as he enters}: Welcome, 
my lord! 

[The King sits upon a throne prepared for him.] 

King: I am happy to be with thee, my fair Queen. 
Thou must have a request which thou desirest to make — 
speak, be not afraid. I will grant it though it be half of 
my kingdom. 

Esther: If I have found favor in thy sight, King, 
and if it please the King, let my life be saved and the lives 
of my people — the Hebrew people. We are to be destroyed, 
to be slain and to perish. 

King: Thy people ? The Hebrew people ? Who is 
this and where is he that dareth in his heart to do this 
thing to thy people ? 

Esther: The enemy is thy chief counselor, this wicked 
Haman. 

King: Did Haman do this deed? How didst thou 
know of his plan ? 

Esther: O King, Mordecai, the Jew, my uncle, hath 
shown me the letter which Haman hath sent over the 
country. The Jews are to be killed on the thirteenth day 
of the twelfth month. I am begging thee for my life and 
for the lives of my people ! 



Dramatization of "Queen Esther" 8i 




w 



I. 

6 

2 



82 The Dramatization of Bible Stories 

King: Fear not, Esther; thy people shall be saved. 
Mordecai, the Jew, hath once done me a great service. He 
hath not been rewarded for this. He shall have honor, fOr ; 
he deserveth it. 

Servant: The great Haman hath come, Queen. 

[Haman enters; they seat themselves, and the feast is served.] 

King: Haman, what shall be done unto the man whom 
the King delighteth to honor ? 

Haman [aside]: Whom would the King like to honor 
more than myself? [To the King]: For the man whom 
the King delighteth to honor, let the royal apparel be 
brought which the King useth to wear, and the horse which 
the King rideth upon, and the royal crown which is set 
upon his head; and let these be given the man whom the 
King delighteth to honor; and let him ride on horseback 
through the streets of the city; and proclaim before him, 
"Thus it shall be done unto the man whom the King 
delighteth to honor!" 

King: Make haste and take the royal apparel and the 
horse as thou hast said and do even so unto Mordecai, the 
Jew, that sitteth at the King's gate. Let nothing fail of 
all that thou hast spoken. 

[Haman bows his head low and goes out to Mordecai.] 

Servant: O King, Haman hath built a gallows upon 
which to hang Mordecai, the Jew, this day. 

[Haman returns with Mordecai and puts on the crown, etc.] 

King: Let him who hath made the gallows hang upon it ! 

[Servant takes Haman out.] 

King: Come near, Mordecai. Thou hast found great 
favor in mine eyes. From henceforth thou shalt be my 
chief counselor, and thou shalt rule the land in Haman's 
place. Thy people shall be spared, and letters shall be 



Dramatization of "Queen Esther" 83 

sent over all the land and into every province which shall 
state that the Hebrew people shall not be destroyed, but 
instead they shall be honored and have joy and feasting. 

Mordecai: I thank thee, O King and Esther, my Queen, 
for the great deliverance and for this great honor to me. 
May the Lord give me strength to deal wisely with these 
peoples. 

Esther: This is a great happiness which thou hast 
bestowed upon me, O King. 



CHAPTER VIII 

THE DRAMATIZATION OF ABRAHAM AND THE 
THREE GUESTS 

This incident should be simplified and adapted 
before it is told to children. The dramatization 
is best worked out in the form of a short, free play 
which involves only one act. It is unnecessary 
to carry it to the point of fixed words and actions. 
The emphasis should be placed upon the customs 
of the times which are so well brought out in the 
story; for example, the hospitality of Abraham 
to the strangers represents the feeling toward 
strangers among the nomad peoples, and the man- 
ner in which he showed his hospitality makes 
children acquainted with customs peculiar to those 
people. There is excellent opportunity here for 
enriching the children's understanding of the life 
of a shepherd people, of which the Israelites are 
an example. 

Descriptions and pictures of the kind of tent the 
people lived in are necessary. It is important that 
children should get the idea of the correct shape 
of the Arab tent and not confuse it with the Indian 
wigwam. No stage scenery need be used; it is 
best to leave that to the imagination. A curtain 



Dramatization of "Abraham" 85 

may be put up to represent the front of the tent, 
but nothing more. 

There is much of this incident that should be 
left out in the telling; by no means should it be 
read directly from the Bible to children. The 
story may be told so that the following points are 
emphasized : 

Abraham is sitting at the door of his tent. 
Three men appear ; he runs to meet them and bows 
to the ground. He invites them to rest under the 
shade of the tree and offers to get food and to have 
their feet washed. The strangers sit and talk 
together, then Abraham comes with the food. 
They all eat and are rested, and as they rise to 
depart they ask for Sarah, Abraham's wife. The 
strangers tell Sarah and Abraham that they are 
to have a son whose name shall be Isaac and whom 
God shall bless and who shall be the father of many 
people. Abraham and Sarah are greatly astonished 
and pleased. They fall upon their knees to thank 
God, and when they arise they find that the 
strangers have departed. The scene closes with 
their exclamation, " Surely these were angels from 
the Lord who have visited us!" 

This story was dramatized by the children of the 
dramatic club after they had had experience with 
many other dramatizations. During the first hour 
after the story was told the children succeeded in 
getting the play into very nearly its final form. 



86 The Dramatization of Bible Stories 

Two of the older girls, undertaking to write out the 
scenes as they thought they should be, brought in 
their versions at the second meeting. Each one 
was read aloud, the other children being asked to 
remember the parts that seemed especially good. 
Then by combining, adding to, or taking from, a 
composite result was obtained. Several children 
wrote down the final decisions at the dictation of 
the group. 

Below is given the version which one child 
worked out by herself, and following that is the 
final form of the play which the group as a whole 
decided upon. The leader purposely left this play 
entirely in the hands of the children; the product 
is wholly their own. 

THE PLAY EXACTLY AS ONE CHILD WROTE IT 

Abraham: The day is hot and I am weary. I will rest 
myself from the heat of the day. [He seats himself in the 
shade of the tent.} 

Sarah: It is indeed hot, and I will bring thee food and 
drink that thou mayest refresh thyself. [Sarah retires into 
the tent.] 

Abraham [rises to his feet and shades his eyes with his 
hands]: Sarah, come hither! Yonder are strangers who 
are in need of rest. [Sarah comes out, and she and Abraham 
kneel before them.] Welcome, strangers, seat yourselves that 
ye may rest. My wife, Sarah, will bring you food, and 
water that you may wash your feet. 

First Stranger: The Lord bless thee, Abraham. 
[Sarah and the servants withdraw, and Abraham and the 



Dramatization of " Abraham" 87 

three men seat themselves before the tent. Sarah returns with 
water and food. The strangers wash their feet and eat.] 

Sarah [offering them food]: Drink thou this fresh milk, 
and refresh thyself with this fruit, for ye look weary. 
[They finish eating and Sarah and the servants retire.] 

Second Stranger: We bring thee good tidings and would 
speak with thee and thy wife. [Sarah comes from within 
the tent.] 

Third Stranger: We are messengers from the Lord to 
tell thee that thou wilt have a son. 

First Stranger: He will be the father of many men and 
thousands will respect him. Ye shall name him Isaac. 

Sarah: That cannot come to pass! For many years 
I have been childless, and the Lord will not give me a son. 

A braham [falling on his knees] : Thanks be to the Lord ! 
A son at last ! 

Sarah: Can it be that these tidings are true? If so, 
it is indeed a message from the Lord ! [She too falls on her 
knees before them. The three men quietly leave, and when 
Sarah and Abraham rise to their feet they are out of sight.] 

Abraham: They were angels from heaven! Our wish 
has been granted at last! 

End 

The following is the play as it was finally 
presented : 

ABRAHAM AND THE THREE GUESTS 

Place: In front of the tent of Abraham. 
Characters: Abraham, a Shepherd; Sarah, His Wife; 
Three Strangers; Four Servants. 
[Abraham and Sarah come out of the tent.] 
Abraham: The day is hot, and I am weary; I will sit 
down and rest in the shade of this tree. 



88 The Dramatization of Bible Stories 

Sarah: Yea, it is hot. I will bring thee drink and food 

that thou mayest refresh thyself, my good husband. 

[Sarah goes into the tent. Abraham sees three strangers 

approaching. He stands up, shades his eyes with his 

hands, and looks out over the desert. He calls to Sarah. ] 




Fig. 7. — The three guests bless Abraham and Sarah 



Abraham: Sarah, my wife, come hither! Lo, I see 
three strangers approaching over the desert. 

[Sarah comes out of the tent and looks also.] 
Sarah: They will be weary and in need of rest. I will 
hasten and prepare food and drink for them also. 
[Sarah goes away. Abraham rises to meet the strangers; he 
falls on the ground before them.] 



Dramatization of " Abraham" 89 

Abraham: Welcome, strangers, to the tent of Abraham! 
If I have found favor in thy sight, pass not away, I pray 
thee! Let now a little water be fetched and wash your 
feet, and rest yourselves under the tree; and I will fetch 
a morsel of bread, and this will strengthen your hearts; 
after that ye shall pass on. 

The Three Strangers: So do as thou hast said, good 
Abraham. 

[Abraham turns to the servants who are standing near.] 

Abraham: Haste ye, bring water; fetch a calf, tender 
and good. [Servants hasten away.] [To the strangers]: 
Sarah, my wife, will make ready three measures of fine meal 
and knead it into cakes. 

First Stranger: Our host, Abraham, is a true servant of 
the Lord. 

Second Stranger: We are indeed weary; we have 
journeyed far across the desert. 

[Servants appear with water and food. Sarah also brings 
food to them.] 

Sarah: Drink thou this fresh milk, and refresh thyself 
with these dates, for ye look weary. 

Third Stranger: This is indeed a rest. 

[Sarah goes into the tent and the strangers finish eating. 
The strangers rise to go.] 

Abraham: Tarry yet awhile with us. 

First Stranger: We thank thee, good Abraham, but we 
must be on our way. 

Second Stranger: We would speak with thee and thy 
wife, Sarah. Where is thy wife ? 

Abraham: Sarah, come hither. 

[Sarah appears.] 



90 The Dramatization of Bible Stories 

Third Stranger: We bring you a message from the Lord. 
You shall have a son, and his name shall be Isaac. He 
shall be the father of many men, and thousands shall respect 
him. 

Sarah: Surely, this cannot come to pass! 

Abraham: Thanks be to God for this great gift! 

[Sarah and Abraham fall down on their knees before the 

strangers. The strangers stretch out their hands 

to bless them.} 

Three Strangers: The Lord will bless you, Sarah and 
Abraham! 

[The strangers depart. Abraham and Sarah arise.} 

Abraham and Sarah: Surely these were angels from the 
Lord! 

End 

As this play was very short, the suggestion was 
made that we might lengthen the program, as well 
as make it more interesting, by having some of the 
children tell the audience just how we worked up 
the dramatization. The two older girls undertook 
this and decided entirely by themselves just what 
they would say. One of them wrote with great 
care a description of the method of procedure. 
She read it to the club for approval, then she 
learned it by heart and gave it in an interesting 
manner to the audience on the day the play was 
given. The other girl wrote a poem about it, and 
recited it just before the play was given. The 
description and poem are as follows: 



Dramatization of " Abraham" 91 

THE INTRODUCTION 
By Margaret Miller 

The play which the children are now going to give — 
Abraham and the Three Guests — has been worked out and 
practiced at the dramatic club. This club meets every 
Sunday afternoon from three until four o'clock, and is 
composed of any of the children of the Sunday school who 
wish to belong. 

The first Sunday Miss Miller told the story to the mem- 
bers, and then they, knowing it, acted it out, making up 
the parts as they went along. This they did several times 
until they knew the story perfectly. 

The two oldest girls did not take part in the acting of the 
play, but became assistants and helped Miss Miller direct 
it. During the next week the assistants wrote out the 
speeches very much as the children had made them up. 
These were read before the club and discussed, and after a 
number of suggestions had been added by all the children 
present the scene was finally written as it now is. 

The children each took home a part to learn, and the 
following Sunday they all tried the different speeches. 
Before the final characters were chosen each child was able 
to represent any one of them. The final characters were 
decided upon by the group and were chosen according to 
their preferences and their ability to enact the different parts. 

Unfortunately, most of the costumes which the club 
had on hand were much too small for the children this year. 
We therefore held a sewing-bee during the week, and 
lengthened the old ones or made new ones where we found 
it necessary. 

We have worked on this play for five meetings, which 
represents altogether five hours, except for a little work 
that the assistants did outside. 



92 The Dramatization of Bible Stories 

We have had much fun with this play, and we are hoping 
that you will enjoy it too. 

POEM 
By Melba Pyle 

Before you soon you shall see 

The story of Abraham and the Strangers Three. 

The partakers, they have worked; 

The assistants, they have shirked — 

But not as much as you would think, 

For they have helped to join each link. 

As day by day passed quickly away 

We read the Bible and wrote the play. 

Each child helped as best he could, 

And thus we worked in brotherhood. 

Word with word we did neatly join, 

Then home we went, our parts to learn, 

Next to the box where the costumes lay, 

And straight to sewing and not to play. 

And 'tis our happy aim, you see, 

To make you joyous as can be! 



CHAPTER IX 

THE DRAMATIZATION OF DANIEL IN THE 
LIONS' DEN 

The story of Daniel in the Lions' Den was drama- 
tized by the members of the club according to the 
same methods as those which were used in connec- 
tion with the story of Abraham and the Three Guests. 

This play is given here in order to show how a 
story which deals with a miraculous event may be 
treated. When Daniel was thrust into the den 
of lions, he was in reality put out of the door which 
opens at the side of the stage. The children 
readily came to the decision that it was unnecessary 
to show Daniel actually in the den of lions on the 
stage. In telling the story no explanation was 
made or asked for concerning the miracle which 
happened. The children accepted it and enjoyed 
it as they would any other good story. 

The final play which follows represents entirely 

the children's interpretation; the product is their 

own. 

DANIEL IN THE LIONS' DEN 

SCENE I 

Place: The court room of King Darius. 
Characters: King Darius, Daniel, Four Conspirators, 
Soldiers, Servants. 

93 



94 The Dramatization of Bible Stories 

[King Darius is seated on his throne. Soldiers and attend- 
ants stand nearby. The conspirators are talking together 
at one side. Daniel, followed by two soldiers, comes in 
and kneels before the King.] 
Daniel: King Darius, live forever! 
King Darius: Good Daniel, I have sent for thee that 
thou mayest know my will. It has pleased me to set over 
my kingdom one hundred and twenty princes, and over 
these princes have I set three rulers. Thou hast been so 
faithful and true that I wish to make thee the first of these 
three rulers. Thou shalt have great responsibility, and 
thou shalt report to me when thou thinkest it well to 
do so. 

Daniel: Thou art kind and gracious unto me, O King! 
May the Lord, Jehovah, help me to do this. 

King Darius: Come unto the feast, Daniel, and have 
the royal robe placed on thee. 
[Daniel bows to the King and they both go out, followed by 

the soldiers and servants.] 
[The conspirators are left alone in the room. They show 
great anger and begin talking to each other.] 
First Conspirator: See how this Daniel has found favor 
in the King's sight! He is not of our country, he belongs 
to the Hebrew people; but the King has appointed him over 
us all! We must destroy this Daniel. 

Second Conspirator: Yea, thou art right. What can 
we do? 

[They all walk back and forth in deep thought.] 

Third Conspirator: I can think of nothing against him! 

Fourth Conspirator: Thou sayest the truth; he hath 
no fault. He is faithful and doth nothing wrong. 

First Conspirator: I can think of nothing, save that we 
find it against him concerning his God. 



Dramatization of " Daniel" 95 

Fourth Conspirator: Ah, that is true; Daniel worshipeth 
a different God ; I have seen him praying thrice in one day. 

Second Conspirator: Let us influence the King to make 
a firm decree that whosoever shall worship any God or man, 
save the King, for thirty days, he shall be cast into the den 
of lions. 

Third Conspirator: That soundeth well! If Daniel be 
faithful to his God, he will surely disobey this decree; and 
if the King once signeth it, the law of the Medes and the 
Persians saith that it cannot be altered. 

First Conspirator: Ah, this will surely be Daniel's ruin 
now! 

Fourth Conspirator: Come, let us hasten to the King and 
have him establish and sign this decree. He will be pleased; 
he will not think of Daniel. 

Third Conspirator: Yea, we will hasten before the 
setting of the sun. 

SCENE II 

Place : The same as in scene i. 

Characters: The same as in scene i. 

Time : Several days after the events in scene i. 
[The King is seated on his throne. The four conspirators 
come before the King and kneel.] 

The Conspirators: Great King Darius, live forever! 

King Darius: Arise, my friends! 

First Conspirator: O King, hast thou not signed a 
decree that he who shall pray to any God or man within 
thirty days, save to thee, shall be cast into the den of lions ? 

King Darius: This thing is true, according to the law 
of the Medes and Persians, which altereth not. 

Second Conspirator: A man in thy kingdom regardeth 
not this law, and doth pray to his God three times a day — 
we have seen him! 



96 The Dramatization of Bible Stories 

King [with anger]: Who is this man that breaketh my 
laws? 

First Conspirator: He is Daniel, whom thou hast favored 
and made ruler! 

King Darius [with surprise and sadness]: Daniel! It 
cannot be! Daniel must not die, for I love him. 

Third Conspirator: Thou knowest, O King, that the 
law of the Medes and Persians is that no decree which the 
King establisheth may be changed. 

King [sadly]: Thou sayest truly; the King's word may 
not be broken. Bring Daniel hither. 
[Soldiers go for Daniel. The King walks back and forth 
in great distress.] 

King [talking to himself] : Oh, I would that this had not 
happened! 

[Daniel appears and bows before the King.] 

King: Why hast thou disobeyed my law, Daniel? 
Wherefore didst thou pray to thy God when thou knewest 
of my decree ? 

Daniel: Great King Darius, my God, the God to whom 
I pray, is the true God, and I shall worship no other. Do 
with me what thou wilt. 

King: Daniel, I would that thou hadst not done this 
thing, for I love thee. Thou art a brave and bold man! 
Thy God whom thou servest continually, he will deliver 
thee! [To the soldiers]: Take this man from me; cast him 
into the den of lions. 
[Soldiers take Daniel and thrust him into the den. The door 

is closed, and the King seals it with his signet. The King 

and attendants withdraw. The conspirators are alone.] 

First Conspirator: Daniel has fallen at last! No longer 
will he be the King's favorite ! 

Fourth Conspirator: We, instead, will be the favored ones ! 
[They leave the room in high spirits.] 



Dramatization of " Daniel" 97 

scene iii 

Place : The same as in scene i. 

Characters : The same as in scene i. 

Time : The next morning after the events in scene ii. 
[The King hastens to the door of the lions' den.] 

King [calling eagerly]: O Daniel, servant of the living 
God, is thy God, whom thou servest continually, able to 
deliver thee from the lions ? 

Daniel [from within]: O King, live forever! My God 
hath sent his angel and hath shut the lions' mouths, and 
they have not hurt me, for the Lord knoweth that I have 
done no wrong, either before him or thee, O King! 

King [to servants who have followed him into the room] : 
Come hither, servants! Quickly bring Daniel out that I 
may see him! 

[The door is opened, and Daniel comes out. The King 
shows great joy in greeting him.] 

King: Thy God is truly the living God! Bring forth 
the men that have done Daniel this wrong. Cast them into 
the lions' den. 
[The conspirators are standing in the room, looking at Daniel 

in astonishment. The soldiers seize them and push them 

down into the den. As they go they cry to the King.] 

Conspirators: O King, spare us! 

King: I will now sign a decree that in every dominion 
of my kingdom men shall bow before the God of Daniel, 
for he is the only true God. He delivereth and rescueth and 
worketh great wonders; he hath saved Daniel from the 
power of the lions. 

Daniel: The Lord God will surely bless thee for this 
good thing! 

End 



CHAPTER X 

THE DRAMATIZATION OF NEW TESTAMENT 
PARABLES 

Many of the New Testament parables present 
interesting problems for dramatization. The selec- 
tion should be limited to those which involve 
dramatic situations and unity of structure. The 
simplicity and conciseness of words and actions 
in many of the parables are qualities which call 
forth a ready and free response from children. 

Among the parables which have been worked 
out by the dramatic club are The Good Samaritan, 
The Wise and Foolish Virgins, The Great Supper, 
The Talents, The Prodigal Son. 

In the case of these short parables the story was 
not told first, but the parable was read to the chil- 
dren directly from the Bible. There was no dis- 
cussion as to the truths supposed to be taught, the 
emphasis being placed entirely upon the story ele- 
ment involved. The customs of the times and the 
division of the story into scenes were discussed as 
fully as was done with other stories. Usually 
one or two meetings were all that were necessary 
for working one of these parables into dramatic 
form. When it was completed, the result was not 

98 



New Testament Parables 99 

a finished product, as the words and action had 
been interpreted with slight variations each time. 
The children learned the story by heart, as it is 
given in the Bible. This influenced their words 
when they were dramatizing. 

Several parables were given together at the 
meeting when parents and friends were invited. 
One child recited the Bible version just before the 
play was given. This feature added interest and 
dignity to the occasion. 

The parables were given in the following order: 

THE WISE AND FOOLISH VIRGINS 

[Ten virgins with their lamps are waiting for the bridegroom.] 
First Virgin: The bridegroom tarries; let us rest here 
awhile. 

Other Virgins: Yea, let us rest. 

[They all sit down and go to sleep.] 
A Cry Without: Behold, the bridegroom cometh! Go 
ye out to meet him! 

[All the virgins get up hurriedly. The five wise ones, with oil 
in their lamps, stand in readiness. The five foolish 

ones are in great confusion.] 
First Foolish Virgin: We have no oil! Our lamps are 
gone out! 

Second Foolish Virgin [speaking to the five wise virgins] : 
Give us of your oil — we have none. 

First Wise Virgin: Not so, lest there be not enough for 
ourselves and for you. But go ye rather to them that sell, 
and buy for yourselves. 

[The foolish virgins hasten away.] 



ioo The Dramatization of Bible Stories 

A Cry Without: Behold, the bridegroom cometh! Go 
ye out to meet him! 
[The Bridegroom comes in, followed by a few attendants. 

He walks by, and the five wise virgins follow him. They 

go in a door which is closed after them. The foolish virgins 

come hurriedly back and rush to the door. They beat on it 

and call out several times.] 

Foolish Virgins: Lord, Lord, open unto us! 

[The door opens and the Bridegroom stands there.} 

Bridegroom: Depart, I know you not! 
End 

During the work on this play the question arose 
as to the kind of lamps that were used at the time 
of the story. The children looked up pictures and 
descriptions, and from these they made themselves 
lamps out of plasticene or clay. Fig. 8 is a photo- 
graph of one of the scenes taken out of doors. 
The lamps can be seen, also the simple costumes 
which the children worked out. 

THE GREAT SUPPER 

[The Master of the feast stands in his door and speaks to his 
servant.] 

The Master: Go, bid my friends come to the supper, for 
all things are now ready! 
[The servant bows; the Master goes into the house. The 

servant walks down the street, and as he meets people he 

delivers his Master's message.] 

Servant [to the men as they come by]: My Master bids 
thee come to his feast, for all things are now ready! 



New Testament Parables 



ioi 




102 The Dramatization or Bible Stories 

First Man: Say to thy Master that I have bought a 
piece of land and must needs go and see it. I pray thee have 
me excused. 

[The servant bows and the man passes on. The servant 
delivers the message to the second man.] 

Second Man: I have bought five yoke of oxen; I must 
go to prove them. I pray thee have me excused. 

Third Man: I have married a wife, and therefore I 
cannot come. 

[The servant goes back to his Master's house; the Master 
comes out to meet him.] 

Servant [falls on his knees before his Master] : O sir, I 
did as thou commandedst, but one by one they made excuse, 
and would not come to thy supper. One man had just 
bought a piece of land and must go to see it; another had 
bought five yoke of oxen, and was on his way to prove them; 
and another had just married a wife. All begged that thou 
excuse them. 

Master [shows great anger]: What! They that are bid- 
den refuse to come to my feast! Go out quickly into the 
streets and lanes of the city, and bring in hither the maimed, 
and the halt, and the blind! 

[The Master goes into his house, and the servant again walks 
down the street.] 

Servant [as he meets the lame, the halt, and the blind] : 
Come ! My Master invites you to a great supper, which is 
now prepared at his house! 

[Each person, or group of persons, bows and thanks him with 
such remarks as] — 

Maimed, Halt, Blind: We thank thee; we will be there. 
We gladly accept this invitation. 

[The Master stands in the door to receive his guests as they 

come. When they are all in, the servant comes 

back to his Master.] 



New Testament Parables 103 

Servant: Lord, it is done as thou hast commanded, and 
yet there is room. 

Master: Go out into the highways and hedges, and com- 
pel them to come in, that my house may be filled. For I 
say unto you that none of those men that were bidden shall 
taste of my supper! 

[The servant bows; the Master goes in.] 

End 
THE GOOD SAMARITAN 

SCENE I 

Place: The road from Jerusalem to Jericho. 

Characters : A Traveler, Thieves, a Priest, a Levite , 
a Samaritan. 

[A man comes along the road carrying his bundle over his 
back. Many thieves rush out from ambush and attack him. 
Some knock him down and rob him, while others are looking 
anxiously up and down the road. After beating and cutting 
the man they go of, thinking that he is dead. 

As the traveler lies groaning and begging for water, a priest 
comes along the road, but when he sees the man he passes by 
on the other side of the road. Also a Levite comes along, and 
after looking at the man passes by on the other side of the road. 

Then a Samaritan comes along, and as soon as he hears the 
groans he hastens over to the man. He kneels down and looks 
at him and speaks.] 

Good Samaritan: What is this — a man! Hast thou 
been hurt, my friend ? 

Man: Oh, help me! Thieves fell upon me and took all 
I had, and have left me here to die. 

Good Samaritan: I will help thee, my good friend; thy 
wounds shall be bound. Drink this wine. It may help 



io4 The Dramatization of Bible Stories 




6 



New Testament Parables 105 

thee. Art thou able to get on this beast of mine ? I will 
take thee to the inn where thou wilt be cared for. [He helps 
the man to rise and supports him as he hobbles of. They 
both go out.} 

SCENE 11 

Place: The Inn. 

Characters: The Samaritan, the Traveler, the Inn- 
keeper. 
[The Good Samaritan brings the man to the door of the inn 
and knocks. The Innkeeper appears.] 
Innkeeper: Good day, sir. 

Good Samaritan: Here is a wounded man. Take care 
of him. Here is money, and whatsoever thou spendest 
more, when I come again I will repay thee. [He gives the 
Innkeeper some money. The Innkeeper takes the man.] 

Traveler [to Good Samaritan]: God bless you, my 
friend ! 

End 

THE PRODIGAL SON 
Act I 

Place: In the father's home. 

Characters: The Younger Brother, the Father, the 
Elder Brother, Servants. 
[The Father and Elder Son come into the room together. 
The Younger Son comes in from another door.} 

Younger Son: Father, give me the portion of goods that 
falleth unto me. I am weary of living at home. I will go 
into some far country and make my fortune. 

Father: My son, why is it that thou desirest this? 
Hast thou not everything at home ? 

Younger Son: Yea, father, but I beg of thee to divide 
thy living between us. I must have my share. 



106 The Dramatization of Bible Stories 

Father: Thou art very foolish; nevertheless I will do 
as thou askest. [To servant}: Bring my money bags. 
[To Elder Son]: And dost thou intend to take thy living 
also, and leave thy father ? 

Elder Son: Nay, father, I am fully content to live with 
thee; I do not want my portion. 

[Servant returns with money bags. Father gives money to 
his younger son.] 

Father: This is thy share — use it wisely. 

Younger Son: I thank thee, father. I shall become a 
rich man with this; but now I must leave thee; I can stay 
here no longer. 

Father: This grieves me, my son, for I know that thou 
art foolish — but go and learn thy lesson. 
[He stretches out his hands toward his son as if blessing him.] 

Act II 

SCENE I 

Place : Along the roadside in a distant country. 

Characters: The Prodigal Son, a Farmer. 
[The Prodigal Son comes down the road, tired and hungry. 
He sits on a rock and talks.] 

Prodigal Son: Would that I had something to eat ! My 
money is all spent, and there is famine in the land. What 
shall I do? I am sick, and feel that I may soon die. If 
I could but find something to do that I might get a little 
food. 

[A man comes along. The Prodigal Son goes toward him 
and falls down before him.] 

Prodigal Son: sir, I am starving unto death. Wilt 
thou give me any task to do that I may make enough to 
keep me alive ? 



New Testament Parables 107 

Man: I have no work to be done — unless it be to take 
care of my swine. Thou wilt find them in yon field; they 
need a keeper. 

Prodigal Son: I will gladly do this. 
[He goes off joyfully.] 

SCENE II 

Place: In the field with the swine. 

Character: The Prodigal Son. 
[The Prodigal Son comes in driving the pigs. He sits 
down.} 

Prodigal Son: How horrible is this life; I am dying of 
hunger. No man will give me anything — all I get to eat 
is the food that I give the pigs. Oh, I wish that I had never 
left home! How many hired servants of my father's have 
bread enough and to spare, and I perish with hunger! I 
will arise and go to my father, and will say unto him, 
"Father, I have sinned against heaven and before thee, and 
am no more worthy to be called thy son; make me as one 
of thy hired servants." 

[He rises and goes away hurriedly.] 

Act III 

SCENE I 

Place: In front of the father's home. 
Characters: The Father, the Prodigal Son, the 
Servants. 

[The Father stands looking for his son.] 
Father: It seemeth to me that I see my son coming 
home ! I knew that he would come ! I will go to meet him ! 
[He meets him.] It is my son! [The Father shows great 
joy. The Son falls on his knees before his father.} 



108 The Dramatization of Bible Stories 

Prodigal Son: Father, I have sinned against heaven and 
before thee, and am no more worthy to be called thy son. 

Father: Bring forth the best robe and put it on him; 
and put a ring on his hand, and shoes on his feet; and bring 
hither the fatted calf, and kill it, and let us eat and be merry, 
for this my son was dead and is alive again; he was lost and 
is found! 

SCENE II 

Place: In the field, near the father's house. 
Characters: Elder Son, Servant, the Father. 
[The Elder Son is hoeing in the field. A servant comes out. 
The Elder Son calls to him.] 

Elder Son: I hear music and dancing in the house; 
what do these things mean ? 

Servant: Thy brother is come; thy father hath killed 
the fatted calf, because he hath received him safe and sound. 
Thy father sendeth for thee to come in. [The Elder 
Brother shows anger.] 

Elder Brother: I will not go in. Why should he make 
merry over my brother who has wasted his living ? 
[The Father comes out.] 

Father: My son, wilt thou come unto the feast ? Thy 
lost brother hath returned! 

Elder Son: Lo, these many years do I serve thee; 
neither have I at any time disobeyed thee, yet thou never 
gavest me a kid that I might make merry with my friends. 
But as soon as thy son was come, which hath wasted thy 
living, thou hast killed for him the fatted calf. 

Father: Son, thou art ever with me, and all that I have 

is thine. It was meet that we should make merry and be 

glad, for this thy brother was dead and is alive again; he 

was lost and is found. Come thou in to greet thy brother ! 

[They both go in.] 

End 



CHAPTER XI 
THE DRAMATIC QUALITIES IN A GOOD STORY 

The stories in the Bible, if taken just as they are 
given, present a body of material which is compli- 
cated by a historical background and a religious 
symbolism that is remote from the young child's 
experience. They embody the historical incidents 
as well as the myths and folklore of ancient Hebrew 
life, and for the most part they express the highest 
idealism of the Hebrew people. There is no reason, 
however, why good stories and appropriate inci- 
dents may not be given to children from this body 
of material through selecting from and simplifying 
the biblical version. A great deal of what is in 
the Bible should not be used, but there is much 
that is highly dramatic and becomes valuable for 
dramatization. 

It is possible to adapt an incident by simplifying, 
and in a measure reorganizing, the parts, and yet 
to keep the dignity and integrity of the story as 
it is given in the Bible. The attitude of the chil- 
dren, created by contact with this type of story, 
should be one of reverence and dignity, coupled 
with a consciousness of the high ideals of the people 
they are impersonating. 

109 



no The Dramatization or Bible Stories 

Before any attempt is made to select parts of the 
Bible narrative for dramatization the leader, or 
director of the children, should have well in mind 
standards which will help in making the part that 
is chosen a well-organized story. When any good 
story is analyzed it is found to be built upon an 
underlying basic structure. There is always a 
beginning or setting; a middle part, where the inci- 
dents rise to a climax; and an end, where the events 
of the story are satisfactorily worked out. There 
should be a feeling of movement straight through 
the story; the incidents should develop; there 
should be action that leads to some end. A unity 
must underlie the whole story — there must be no 
part which is not essential to the working out of 
the plan. The end of the story should give a sense 
of completeness, of satisfaction. 

It is often the case that the three essential parts 
of the story call for three acts when the story is 
dramatized. In some of our modern dramas five 
acts, but in many only three acts, are required in 
order to complete the structure. Sometimes, how- 
ever, all three parts of a story may be given in a 
one-act dramatization. Before a story is drama- 
tized it is very necessary that it be told so clearly 
that the children are conscious of these parts; 
otherwise the resulting drama will lack in organi- 
zation. No matter how elaborate or simple the 
story, the children should have a feeling for the 



Dramatic Qualities in a Good Story hi 

basic structure, which should guide the form of 
the dramatization. 

The leader in charge of a dramatic club in which 
Bible stories are used must take the responsibility 
of changing the Bible version so as to make an 
organic unit of the story and yet keep the spirit 
and big meaning. There are many parts of the 
Bible narrative which already embody this simple 
organization — or division into related elements — 
if all of the heavy, unnecessary incidents are 
omitted. 1 

Although the main purpose of these dramatiza- 
tions is not that an artistic result be secured, yet 
that is an important factor, and should be recog- 
nized by both the leader and the children. The 
product many times will be necessarily crude and 
lacking in the aesthetic element, but nevertheless 
there should be an attempt, even though gradually, 
to train the children toward a recognition and an 
appreciation of the artistic qualities of the literary 
production they put forth, as well as of the stage 
groupings and effects. 

*As a matter of fact, it is often the later editorial additions to 
the simple old stories that have produced the cumbrous effect. 
When the original story is recovered, it lends itself much better 
to the purpose here discussed. Such a reorganization of the 
stories with a preservation of the biblical language has been made 
in Soares' Heroes of Israel (The University of Chicago Press), 
where also there is much illustrative material interpretative of 
the situations. 



ii2 The Dramatization of Bible Stories 

Care must be taken that the stories chosen are 
ethically sound. The story of Jacob is one that 
may well be omitted. Jacob deceives, and yet 
all the godd things in life come to him — he takes 
them away from those who rightfully have earned 
them. This injustice in the story always raises 
a question in the minds of the children, and for 
this reason it is not a good story. The stories of 
Samson, Jephthah, Jael, and others on this order 
should be eliminated for similar reasons. They 
are each based upon attitudes toward society and 
standards of friendship which are now outgrown. 
There are so many simple episodes in the Bible 
that can easily be readjusted into well-constructed 
stories, about which there can be no question of the 
moral value, that no time need be wasted in con- 
sidering any story about which there is the least 
suggestion of an unethical quality when judged by 
our present-day standards. 



CHAPTER XII 
BIBLE STORIES SUITABLE FOR DRAMATIZATION 

The stories which have been taken for drama- 
tization in the previous chapters were not chosen 
because they are the best ones for that purpose, but 
because they represent different kinds of stories 
and illustrate the opportunity for various methods 
of presentation. There are many other stories and 
incidents in the Bible which are equal to, or better 
than, those described. 

A list of some of these stories is given below, 
together with a few of the most essential points 
which should be considered in dramatizing each. 
No attempt is made to give the story in full or to 
elaborate the dramatization; the plan for each is 
merely suggestive. 

I. SAMUEL 

I SAMUEL, CHAPTERS 2 AND 3 

The story of Samuel may be worked into a short 
play of one or two scenes. The most interesting 
and dramatic incident is the familiar one of the 
Voice Calling Samuel at Night. The first part of 
the story, however, is beautiful, and may be used 
along with this incident. 

113 



ii4 The Dramatization of Bible Stories 

In scene i Hannah brings little Samuel to the 
temple and dedicates him to the Lord. Eli, the old 
priest, takes the child to live with him in the 
temple so that he may train him to serve the 
Lord. 

Scene ii takes place several years later. It is 
night time, and the child Samuel is sleeping near 
the old priest, Eli. He thinks he hears a voice 
calling him, and he runs to Eli to ask what he wants. 
Eli has not called him and tells him to lie down 
again. Three times he runs to Eli, thinking that 
he hears him calling. Then the priest tells him 
that it must be the Lord who has spoken and tells 
Samuel what to say the next time he is called. 
Samuel hears the message from the Lord and, upon 
Eli's request, tells him what he has heard. Eli 
realizes that the Lord has spoken truly, and accepts 
his fate as just. He praises Samuel and tells him 
that he will soon leave the care of the temple and 
of the people of Israel to him. 

Neither in this play, nor in any other play, should 
there be an attempt to represent the Lord's voice. 
The child may listen as if he were hearing someone 
speaking, and from what he says and does the 
audience will be aware of what is happening. For 
the sake of the result, from an artistic point of view, 
such parts as this should always be left to the 
imagination, no attempt being made to interpret 
them literally. 



Bible Stories for Dramatization 115 
2. the queen of sheba's visit to solomon 

I KINGS, CHAPTER IO 

The visit of the Queen of Sheba to Solomon 
furnishes a unit of work for a short one-act drama- 
tization. There is no plot or complicated situation 
involved and there is very little activity suggested. 
The attention of the children may well be directed, 
however, to the description of Solomon's court and 
of the rich gifts which were exchanged. This is an 
excellent opportunity to have the children do con- 
struction work. They should make many things 
which will help to give the impression of richness 
to the court. They may also make their own 
costumes richer by adding jewels and bright- 
colored sashes and headdresses. 

This little dramatization will include many chil- 
dren. A number will be needed to come in with 
the Queen of Sheba, and there should be many 
attendants upon King Solomon. The conversa- 
tion will be for the most part between Solomon and 
the Queen, heralds and servants making announce- 
ments. 

The play opens with the Queen of Sheba's 
arrival at the court of Solomon. Messengers 
announce her to the King. Solomon talks with 
the Queen and she tells him that she admires his 
great wisdom and his wealth. Then Solomon com- 
mands that the feast be served, and while they eat 



n6 The Dramatization of Bible Stories 

the Queen presents her gifts to Solomon. When 
the Queen takes her leave Solomon gives her 
wonderful presents. The play will end with the 
exit of the Queen and her attendants. 

Unless the children put much thought upon the 
stage setting and the conversation, this incident 
may prove uninteresting. It has, however, great 
possibilities for the working out of a beautiful 
picture. 

3. JOSHUA AND THE GIBEONITES 
JOSHUA, CHAPTER 9 

The story of Joshua and the Gibeonites is so 
simply told in the Bible that children of nine or 
ten years of age can read it as it is given and 
dramatize it directly from that version. 

The dramatization of this narrative calls for 
many characters. The older children may take the 
parts of Joshua and the leaders of the Gibeonites, 
while the younger ones are needed for Israelite 
soldiers and citizens of Gibeon. All the charac- 
ters in the play will need to do much acting even 
though they do not enter into the conversation. 

Although the dramatization should be a product 
of the children's work, yet the leader should have 
well in mind the three main divisions of the story 
that she may guide the children by her questions. 
This story may be worked into one of the more 



Bible Stories for Dramatization 117 

elaborate productions. The Bible language should 
be used and the result should be full of dignity and 
spirit. For detail in the method of presentation 
compare that employed in the story of Joseph 
(chapter iii). 

The story may be given so that the following 
divisions or scenes are emphasized: 

SCENE I 

Place: At Gibeon. Street scene. 

The inhabitants are discussing the victories of the 
Israelites. They are afraid of Joshua, the leader. Mes- 
sengers report that he is advancing toward Gibeon. The 
Gibeonites plan to make a league with him so that he will 
not destroy their city. They decide to deceive Joshua by 
dressing as strangers from a far country, wearing old gar- 
ments and taking moldy bread and wine. 

SCENE 11 

Place: Joshua's tent at the camp of Gilgal. 

The men from Gibeon come to Joshua and tell him that 
they are from a far country. They say that they have heard 
of his great victories and wish to make a league with him. 
The conversation between Joshua and these strangers is 
interestingly given in the Bible and may be quoted almost 
exactly. Joshua makes the treaty with them. 

SCENE III 

Place: At Gibeon. 

The Israelite soldiers rush into Gibeon to take it, but 
find that the inhabitants are the same ragged strangers 
with whom they made the league. The Israelites reproach 
them, but cannot go back on their word, so spare their lives. 



n8 The Dramatization of Bible Stories 

In order to punish the Gibeonites for their deception, 
Joshua makes them slaves of the Israelites. 

There is much opportunity for construction 
work in the dramatizing of this story. Costumes, 
pieces of armor, and weapons may be made in a 
simple manner by the children. 

4. ISAAC AND REBEKAH 

GENESIS, CHAPTER 24 

The story of Isaac and Rebekah is unusually 
valuable for dramatization. It involves a well- 
worked-out plot which is beautifully and simply 
told in the Bible, and which brings the children in 
contact with many interesting customs among the 
shepherd people. The story needs little changing; 
it may be given almost as it is written. 

The following outline for the divisions of the 
story is merely suggestive: 

Act I 

SCENE I 

Place: Abraham's tent in Canaan. 

Abraham is lying down in his tent. He is talking to 
Isaac, his son, about the wife he wishes him to have. He 
calls a servant and bids him go to Mesopotamia, his old 
home, and bring a wife for Isaac from his own kinsfolk. 
Abraham makes the servant swear that he will do as he has 
been told. Perhaps Abraham has his hand on Isaac while 
he is talking, and Isaac will take some small part in the 
conversation. 



Bible Stories for Dramatization 119 
Act II 

SCENE I 

Place: Mesopotamia. 

The messenger, with his servants, comes to the well just 
outside of the city walls, where the women draw water. 
There should be no attempt to represent the camels. These 
may be indicated by the conversation and left to the imagi- 
nation. The messenger, through praying to God, decides 
how he shall know which young woman to choose for Isaac. 
When Rebekah comes with her pitcher she offers to give 
water to him and to his camels also. The man is sure then 
that Rebekah is sent by God, and therefore he arranges to 
go to her father's house for the night. 

This scene should be made very picturesque as 
well as interesting. The children may look up 
pictures of the wells of those times and then con- 
struct something that will serve the purpose. 
Pieces of pottery may be brought in on the shoul- 
ders of the women to represent water jugs. (Com- 
pare with the street scene described in the story of 
Ruth, chapter vi.) 

scene n 

Place: Rebekah's home. 

In this scene comes the discussion of Rebekah's leaving 
home to become the wife of Isaac. The messenger makes 
known to the family that it is Abraham, their kinsman, who 
is sending for Rebekah. He gives Rebekah the gifts which 
his master has sent — earrings, bracelets, and the like. The 
family finally decide that Rebekah may go back to Canaan, 
but they ask the servant to let her stay with them for ten 



120 The Dramatization of Bible Stories 

days longer. He is unwilling to wait, and the question is 
therefore put to Rebekah. She answers that she will go 
with him now. 

Act III 

SCENE I 

Place: Canaan. A field near Isaac's home. 

Isaac walks alone in the field at sunset. He is constantly 
looking into the distance, and he is wondering when the 
messenger will return with a wife for him. At length he 
sees the camels approaching and hastens to meet them. 
This is all indicated by his soliloquy — no camels must be 
shown. The servant and Rebekah have dismounted and 
come to meet Isaac. The servant gives Rebekah to Isaac 
who embraces her and shows his joy at receiving such a 
beautiful wife. The play should end where Isaac turns 
toward his father's tent with Rebekah. 

While the children are playing this story there 
should be much detailed discussion which will give 
them an adequate background for understanding 
the customs upon which the story is based; and 
there should be shown many illustrations which will 
insure correct mental pictures. 

5. ELIJAH AND THE WIDOW'S MEAL 
I KINGS, CHAPTER 1 7 

This may be used as a very simple incident of 
two scenes, or it may be elaborated into a longer 
play. 

The first scene is placed by the gate of the city 
of Zarephath. As Elijah comes toward the gate 



Bible Stories for Dramatization 121 

he asks a woman, who is gathering sticks, for a 
drink of water. She gives him the water and he 
asks for bread. The conversation between them 
brings out the facts that there is famine in the land, 
and that the widow has hardly enough meal left 
in the house to make bread for herself and for her 
son. She agrees to divide with Elijah, however, 
and takes him into her house. The wording for 
this scene may be taken almost directly as it is 
given in the Bible. 

The second scene is placed in the house of the 
widow. The woman and her son are eating with 
Elijah. From what they say to each other it is 
apparent that the meal and oil have lasted for many 
days, and the three people have had plenty to eat 
during the famine. The widow is convinced that 
a miracle has been wrought by her guest. She 
begs him to tell her who he is. The stranger 
answers that he is Elijah, the prophet of the Lord, 
and that it is through the Lord's care of them that 
they have had food enough. The play may well 
end here with the final speech from the widow as 
it is given in the Bible: "Now by this I know that 
thou art a man of God, and that the word of the 
Lord in thy mouth is truth." 

In case the part of the story which gives the 
raising of the widow's son is used, a third scene 
may be added, and the widow's speech would come 
at the end of that scene. 



122 The Dramatization of Bible Stories 
6. elisha and the shunammite 

II KINGS, CHAPTER 4 

This incident is similar to the story of Elijah 
and the widow's meal, and may be dealt with in 
the same manner. It should be simplified by 
selecting certain parts for dramatization. The 
emphasis throughout falls upon the generous 
qualities of the two characters — Elisha, ever ready 
to help others, and the woman, who always kept 
a room for the prophet because she admired his 
goodness. 

7. DANIEL INTERPRETS THE KING'S DREAM 
DANIEL, CHAPTERS I AND 2 

The stories about Daniel have unusually inter- 
esting possibilities for dramatization. They need 
very little explanation. They are so vividly and 
beautifully told in the Bible that the children will 
understand them readily and have no difficulty in 
interpreting them. A few historical facts may be 
given to make the setting clear. The following 
divisions are suggested for the first story: 

scene 1 

King Nebuchadnezzar brings four Israelites into his 
court in order to have them trained as councilors. He 
appoints them a daily provision of the king's meat and 



Bible Stories for Dramatization 123 

SCENE II 

The King dreams a dream and forgets it. He calls all 
of his wise men and demands that they tell him what his 
dream was and also interpret it. The wise men declare 
that this is an impossibility and refuse to obey. Nebuchad- 
nezzar is furious and orders that they all be put to 
death. 

Daniel then comes before the King and asks that the 
King give him time that he may interpret the dream. The 
King grants this. 

SCENE III 

Daniel appears before the King again. The King asks 
if he is able to tell what the dream was and to interpret it. 
Daniel answers that he is able to tell him, not, however, 
by his own power, but by the power of God in heaven who 
revealeth secrets. Then Daniel gives in detail the dream 
and tells King Nebuchadnezzar the meaning thereof. The 
King is so affected that he falls on his face and worships 
Daniel. He recognizes the God of Daniel, and commands 
that Daniel be made governor of Babylon. At Daniel's 
request he also makes the three other Israelites rulers of 
certain provinces. 

This story may be treated in the same manner as 
the story of Joseph (chapter iii) . 

8. SHADRACH, MESHACH, AND ABED-NEGO IN THE 
BURNING FIERY FURNACE 

DANIEL, CHAPTER 3 

This story may be read to children directly from 
the Bible. After they have worked it over several 



124 The Dramatization of Bible Stories 

times the final product will include three scenes 
of the following character: 

SCENE I 

The heralds come through the streets crying aloud that 
King Nebuchadnezzar commands all people to bow down 
when they shall hear the musical instruments and worship 
the image of gold which he has set up. Those who do not 
obey will be put into a burning fiery furnace. The instru- 
ments of music sound and all the people fall to the ground 
to worship except the three Israelites, Shadrach, Meshach, 
and Abed-nego. Some of the men notice that the Jews do 
not obey, and go off immediately to tell the King. 

SCENE II 

The men come before the King and begin their story by 
saying, "O King, live forever!" The Bible language may 
be used directly here in the conversation which follows. 
The King is very angry at what these men tell him. He 
orders that the three Jews be brought before him. They 
are brought in and the King tells them that they will have 
to be put into the fiery furnace if they do not obey. The 
Jews are not afraid and reply that their God will take care 
of them. The King then orders them to be bound and 
to be taken out to the furnace, which has been heated seven 
times hotter than usual. Men come running back to the 
King to tell him that the servants which thrust the Jews 
into the furnace were burnt up by the heat, but that the 
Jews were not harmed. Another man runs in and tells 
the King that a fourth person is in the furnace, and that he 
resembles the Son of God. Nebuchadnezzar commands 
that the three men be brought out from the furnace. They 
come before him, with no mark of the fire on them. The 
King is so greatly impressed that he makes a decree that 



Bible Stories for Dramatization 125 

no one shall speak against the God of Shadrach, Meshach, 
and Abed-nego. He then appoints these three men to 
positions of greater trust than ever before. 

9. BELSHAZZAR AND THE HANDWRITING ON 
THE WALL 

DANIEL, CHAPTER 5 

This story, like the others from Daniel, is so 
dramatically told in the Bible that it may be taken 
almost exactly as it is given. It should be worked 
into a one-act play. Much attention should be 
given to the setting, and the children may make 
many things which will give some idea of the rich- 
ness of the banquet hall. 

The play opens with the feast of Belshazzar. 
The people are making merry in the midst of all 
the pomp. and luxury of the court. Suddenly the 
handwriting appears on the wall. The King and 
the people see it and are terrified. The children 
should not attempt to show the handwriting, but 
from the words and actions of the King and the 
people the audience must be made aware of what 
is happening. None of the wise men present is 
able to interpret the handwriting. The Queen 
comes before the King and begs that he send for 
Daniel, the Jew. Daniel is brought in, and after 
a little thought gives the interpretation. The 
scene should end with the recognition of Daniel's 
power. The scarlet robe is placed on him and the 



126 The Dramatization of Bible Stories 

golden chain is put around his neck, and the King 
proclaims that Daniel shall be the third ruler in 
the land. 

IO. THE STORY OF JOB 
THE BOOK OF JOB 

The most majestic piece of literature in the 
Bible, and one of the world's masterpieces, is the 
Book of Job. The Prologue and Epilogue are in 
the prose epic style, which characterizes the best 
narrative portions of the Bible. The main part 
of the book is actually dramatic in form, and the 
deep problem of human suffering is discussed in the 
loftiest poetic language. The theme is so pro- 
found and the imagery so elevated that it is quite 
beyond the ability of small children. High-school 
students might well present the drama. Many of 
the speeches may be abbreviated, while the Pro- 
logue can easily be dramatized. Job has been so 
presented with great success by children of high- 
school age at All Souls' Church, Chicago. It may 
be noted that the voice of the Lord was given in an 
elevated monotone by a person unseen. 

II. THE PROPHETS 

For the older children many of the Prophets 
make interesting characters for dramatization. 
The .great value of a study of the Prophets lies in 
their appeal as beautiful pieces of literature and 



Bible Stories for Dramatization 127 

expressions of the deepest spiritual feeling, rather 
than in the dramatic situations presented. If a 
study is made of the life of the Prophets, and of the 
times in which they lived, ample material will be 
discovered which may serve as a background for 
the dramatization of these characters. This 
material is not entirely available from the Bible, 
but should be reinforced by outside references, 
such as The Prophets of Israel by C. H. Cornill, 
The Modern Reader's Bible by R. G. Moulton, The 
Hebrew Prophets by Chamberlin. 

The prophet Amos may be taken as an example 
of what can be done with this material. The Chil- 
dren of Israel are celebrating their autumn festival 
with great joy and abandon. As the mirth is at 
its highest an unknown man makes his way through 
the crowd. He silences the festivity by chanting 
his dirgelike reproof to the merrymakers. The 
astonishment of the people at this sensational 
interruption is great. The high priest hurries 
toward him and demands an explanation for this 
unusual disturbance. He orders Amos to cease 
speaking and to go back to the hills and mind his 
sheep. Amos answers that he is sent by the Lord 
to reprove the people of Israel, and he continues 
to intone his lamentations. The most beautiful 
and vivid selections for use in dramatization are 
found in chapters 8 and 9. While the final beauti- 
ful words of the prophecy are regarded as an 



128 The Dramatization of Bible Stories 

editorial appendix, there can be no impropriety in 
using them as a dramatic climax. The people may 
then be represented as subdued in spirit, accepting 
the upbraiding as being the word of God. 

Isaiah, Jeremiah, and other Prophets may be 
worked out in like manner. The result in each 
case, however, should insure the utmost dignity 
and beauty; otherwise the dramatization should 
never be attempted. 

The many Prophets with their various messages 
suggest the possibility of their use in a pageant. 
This form of dramatization may be given to 
advantage by a group of children as a climax to 
their detailed study of the Prophets. 

From each of the following subjects several 
dramatizations may be taken. They suggest many 
short one-act plays, and also some excellent long 
ones. 

Saul Chosen and Anointed King of Israel. I Sam., 

chaps. 9 and 10. 
Samuel Anoints David. I Sam., chap. 16. 
David and Jonathan. I Sam., chaps. 18-20. 
David Spares Saul's Life. I Sam., chap. 24. 
Moses Begs Pharaoh to Allow the Children of Israel to 

Leave Egypt. Exod., chaps. 5-13. 

It may be well to state, in connection with the 
selection of stories from the Bible for dramatiza- 
tion, that other stories outside of the Bible may 



Bible Stories for Dramatization 129 

be dramatized by these same methods and will 
accomplish the same results. It is not best to 
allow children to dramatize in succession too many 
of the heavier type of stories, such as the Bible 
stories represent. They may become tired if they 
work too long at the same kind of dramatization. 
Children need stories which will lighten and relieve 
the extreme seriousness and dignity which they 
necessarily have to express in playing the Bible 
stories. There is a host of fairy tales, folk-tales, 
and historical incidents that may well be adapted 
for this purpose. 

The Children's Educational Theatre, by Alice 
Minnie Herts, describes dramatic work with chil- 
dren older than those who made the plays in this 
book. It is an interesting experiment in education 
which uses dramatization as a means for accom- 
plishing certain aims. 



CHAPTER XIII 
STAGE SETTING AND PROPERTIES 

The point has been emphasized in the preceding 
chapters that very little stage setting and only a 
few properties are used in connection with these 
dramatizations. It is always best that as much as 
possible should be left to the imagination, and that 
only such setting and properties be used as the 
children themselves can construct and as are needed 
to produce the atmosphere of the play. This point 
of view influences any consideration of these 
matters. 

It is frequently true that, after the children have 
made the articles they find a need for, the results 
are very crude, and there is yet much opportunity 
for, free play of the imagination. Great benefit 
is derived, however, through the construction of 
these objects. The children gain a clearer under- 
standing and a keener appreciation of them after 
they have had the experience of trying to express 
the shape or form through some medium, such as 
clay-modeling, paper-cutting, drawing. 

Care should be taken that children make nothing 
in the nature of stage scenery, such as trees, grass, 
bulrushes, and other bits of landscape. The only 

130 



Stage Setting and Properties 131 

stage setting which seems at all necessary for them 
to make involves very simple designs which show 
the characteristic ornamentation of the times, for 
example, the lotus and papyrus designs in Pharaoh's 
court. 

Drawings and descriptions of a few of the most 
essential stage properties and settings are given 
below, with suggestions as to where and how each 
may be used. 

Water jugs and dishes. — In the earlier stages of 
Hebrew history — as is found to be the case with 
all primitive shepherd people — skins and wooden 
bowls were used for holding water, milk, and food. 
Clay vessels were probably not in general use 
during the nomadic period. When dramatizing 
the stories of Abraham and Isaac, and others of 
that period, this fact should be taken into account, 
and only vessels of wood and skin should be 
used. 

Most of the clay utensils, which are mentioned 
in the stories of a later time, were shaped like those 
shown in Fig. 10. Many of the water jugs had 
small handles, though some were without handles. 
Fig. 1 1 shows the position in which a Hebrew woman 
usually carried her water jug. 

The Hebrews had little interest in the aesthetic 
except in the realm of literature, and the lack is 
very evident in their pottery. The water jugs are 
far from having the beauty of line and proportion 



132 The Dramatization of Bible Stories 

which is found in Greek pottery. Whenever any 
of these vessels are needed for use in a dramatiza- 
tion, it is well to have the children bring jars and 






WATER JUGS 



DRINKING 




/AJLKJUG 


BOTTLE 




<& 




COOKING POT 


DLSH 



WATER. 




JUG 



Fig. 10 



bowls from home which conform as nearly as 
possible to the shapes here given. Earthenware 
bowls and jars may be used effectively. 



Stage Setting and Properties 



i33 



Wells. — The importance of wells in the life of 
the early Hebrews cannot be overemphasized. 
The scarcity of water in the desert made the digging 
of wells a necessity for the survival of people and 
of flocks. As much of the 
land was rocky, wells could 
be dug only at certain places. 
These favorable places were 
the means of determining 
where the tents were to be 
pitched. In most of the 
stories of the nomadic life 
wells play a conspicuous 
part. 

Children should have cor- 
rect mental pictures of those 
ancient wells, so that they 
do not confuse them with the 
modern wells. The wells of 
Palestine usually had low 
stone walls around them, and often big flat stones 
for covers. The rocks were piled high enough 
to keep animals from falling in. In some of the 
wells the water was so low in the ground that 
people had to go down steps on the inside in 
order to get it. In other wells the vessels were 
let down by means of ropes. The women of the 
land were always required to draw and carry the 
water. 




V/OMAN CARRYING 
WATER. JUG 

Fig. 11 



134 The Dramatization of Bible Stories 




ANCIENT WELUT 
IN PALATINE 



The simplest way for children to represent a 
well on the stage is by piling up rocks to resemble 
the outside or by using something that will look 
like a great stone. Fig. 12 shows two kinds of 
wells in Palestine. 

Staff and rod. — 
The shepherd boy 
always had with him 
a rod and a staff 
(Fig. 13). The rod 
was about two and a 
half feet long and 
was used for pro- 
tection. The thick 
knob at the end was 
cut out of the tree 
from which the limb 
came, and was fre- 
quently covered 
with knots or nails to make it more terrible as a 
weapon. The children may find pieces of wood 
which will serve the purpose, or if they live near 
a forest they may make their own rods. 

The staff was usually about five feet long. The 
shepherd used it to help him climb hills and moun- 
tains and also to keep the sheep from straying. 
Some staffs were nothing more than the straight 
limbs of trees; others had a fork or crook at the 
end so that they could more easily catch into the 




Fig. 12 



Stage Setting and Properties 



i35 



wool of the sheep when they needed guiding. Chil- 
dren may use long sticks or branches from trees 
when they represent staffs. 

Sling. — The sling which was used in David's 
time was frequently woven of rushes, hair, or 



JTEARtf 



JWORDtT 



JTAFF 




Fig. 13 



sinews; sometimes it was made from soft leather. 
From Fig. 14 it will be seen that the shape of the 
woven part is wider in the middle and comes to a 
point at the end. A string was tied to each end 
and the stone was placed in the wide part. The 



136 The Dramatization of Bible Stories 

sling was whirled around over the head, and as 
one string was let loose the stone flew out. When 
the sling is used in a dramatization, the stone may 
be left to the imagination. 

Children take great pleasure in trying to weave 
this sling. A diagram of a simple cardboard loom 





AiTHEPHERQ-J^UNG 

Fig. 14 



^ d*IA\PLE. 
LOD/v\— i^Abe. 

FROM CMD^OARD 



is given in Fig. 14. The shape should be drawn 
on the cardboard, then holes made for the thread 
which strings up the loom. Coarse woolen yarn 
may be used for the weaving. 

Shepherd bag. — The shepherd bag which was 
used by David was carried by every shepherd boy 
along with the staff, rod, and sling. It was made 



Stage Setting and Properties 137 

from a piece of skin with a cord at each end. The 
cords were fastened to the girdle so that the skin 
formed a kind of bag. Pebbles for the sling were 
carried in it, and often supplies of food. A piece 
of leather or of brown cloth may be easily made into 
one of these bags for the children to use. 

Sickles. — -Sickles were of 
two kinds — those made of 
metal and those made 
of wood. The wooden ones 
were toothed with sharp 
pieces of flint. Fig. 15 gives 
the characteristic shapes. 

Children may represent JMCJCLLiX 

these sickles by cutting the F 

shapes from stiff cardboard 
and coloring them some dark color to make them 
look as if they were wood or metal. Some of the 
boys may be interested in cutting sickles directly 
out of wood. 

Scepter. — The scepter was used by kings in the 
later history of the Hebrews. It was nothing 
more than a development of the rod used in the 
shepherd period. As a rod it was a means of pro- 
tection and power over enemies, and as a scepter it 
was a symbol of the same power. Scepters were 
sometimes short, with much ornamentation; others 
were long, probably five feet in length. They 
were all characterized by a ball at the end, and in 



138 The Dramatization of Bible Stories 

many cases the kings had them made from gold, 
or richly ornamented with gold. The Persian 
kings used the long scepter, which therefore is 
the kind most appropriate for the play of Esther 
(see Fig. 16). 

Tents. — The ancient Hebrew tent was much like 
the modern Bedouin tent. It was low and spread 
out over the ground, and was made of black goat's 
hair cloth. This cloth was usually stretched over 



=0 



SCEPTER- 
Fig. 16 

nine poles, arranged in rows of three and from six 
to seven feet in height. The inside of the tent 
was divided into two parts by a long curtain which 
hung across the middle. 

A tent may be represented on the stage by pla- 
cing a big thick cloth (a blanket or canvas or dark 
curtain) over poles or screens. 

Shields. — There were two kinds of shields found 
among the Hebrews. One was very large and 
covered a man from head to foot; it was usually 
carried by a shield-bearer. The other was small 
and was sometimes called a buckler. Many 
different shapes were found in both kinds of shields ; 
some were like the Egyptian — long, broad, and 
straight at the bottom; others were round and 



Stage Setting and Properties 



i39 




FRONT AND 
JIDE V1EWJ" 





oblong. All shields were convex with handles 
on the inside to hold them by. The kings had 
shields covered with gold, or decorated with gold 
and precious stones; 

but the common A J^j-jJElLDJ^ 
soldier had a shield of 
wood or stiff leather. 
Leather formed the 
basis of the shields 
that were decorated. 
Fig. 17 will show 
drawings of some of 
the typical shapes. 
Children can easily 
make shields out of 
cardboard; some may 
be covered with gold 
paper or with dark- 
brown paper. A 
handle may be glued 
or sewed in the inside 
so that the shield may 
be held without 
trouble. 

Swords. — The sword was always hung from the 
left side of the sword-belt. It was made from 
bronze or iron, and was about seventeen inches 
long. Fig. 13 shows some of the usual shapes. 
Many swords were two-edged and had leather 





Fig. 17 



140 The Dramatization of Bible Stories 

sheaths in which they were carried. Children may 
make these out of stiff cardboard, or out of thin 
wood. They should be colored a dark color, and 
the hilts may be decorated with bright colors to 
represent jewels. 

Spears. — Spears averaged about five feet in 
length. The javelin was a long, heavy spear used 
for casting; the lance was a lighter spear used for 



TP.UMPETJ 





Fig. 18 

defense. All spears had a shaft of wood and a 
metal or stone point. Fig. 13 gives several of the 
characteristic shapes of spear-points. Spears may 
be made by fastening cardboard points to long 
sticks, or by cutting the point directly out of the 
wood. 

Bows and arrows. — The bows and arrows of the 
Hebrews were very much like those of all other 
primitive peoples. The bows were often four or 
five feet long and the arrows were pointed with 
sharp flint or metal. Illustrations of the shapes 
are found in Fig. 13. Children need little direction 



Stage Setting and Properties 



141 



in the making of these weapons, a string and some 
pliable wood being all that is necessary. 

Trumpets. — Fig. 18 illustrates the kinds of 
trumpets used. The small ram's-horn trumpet 
was associated with the feasts and other public 
celebrations, while the long metal horn was used 
for the most part by the priests. These metal 
trumpets were frequently made from hammered 




SIGNET RING 
Fig. 19 




LAMP 



Fig. 20 



silver. Children can make them out of stiff paper 
or thin cardboard and cover them with silver 
paper. 

Signet ring. — -A signet ring is something that the 
kings were never without. In the earlier times 
it was worn on a chain which hung from the neck; 
later it was worn on the finger. Fig. 19 gives a 
drawing of a signet ring. The design was raised 
so that it left an imprint. The king used this 
imprint as his royal signature instead of signing 
his name. When a signet ring is needed in a 
dramatization, as is the case in Daniel in the Lions' 
Den, any large ring may be used, or the children 



142 The Dramatization of Bible Stories 





nmiiiiiiiuu 



•A7YA7T 



WfctA? 



may be interested in making a ring from paper or 
cardboard. 

Lamps. — Fig. 20 shows one of the simpler types 
of lamps used at the time of Christ. This was 
probably the kind referred to in the parable of the 

Wise and Foolish Vir- 
gins. The lamps 
were terra cotta and 
held a very little oil. 
Children will be 
interested in making 
these lamps out of 
clay or plasticene. 
They are almost in 
the shape of a shallow 
bowl with a handle. 
Egyptian design.— 
In the scenes placed 
in Pharaoh's court a 
few decorations sug- 
gestive of the Egyptian will add interest. Fig. 21 
gives some of the simpler designs which the children 
may use for ornamentation. The servants may 
carry the large fan-shaped designs, which they make 
on stiff paper. These designs were made from the 
lotus and the papyrus plants; the leaves were 
usually a blue-green, and red, blue, yellow, white, 
and black were used in many designs. Fig. 21 
shows some of these designs that were made by the 
children and used in representing Pharaoh's court. 



EGYPTIAN 
DEJIGN 



Fig. 21 



Stage Setting and Properties 143 

As it may be of interest to those who have access 
to a library to know where more definite and 
detailed information may be secured concerning 
the articles that are but briefly described here, the 
following works are recommended: The New 




CROWNS 






MfV^A N EQYMIAN 

Fig. 22 

Schajf-Herzog Encyclopedia of Religious Knowledge; 
Hastings' Dictionary of the Bible; the Jewish Ency- 
clopedia; Kitto, Cyclopedia of Biblical Literature; 
three books by W. M. Thomson — Central Palestine 
and Phoenicia, Southern Palestine and Jerusalem, 
Lebanon, Damascus, and beyond Jordan; Elmendorf , 
A Camera Crusade through the Holy Land. 



CHAPTER XIV 

COSTUMING 

The question of costuming may be dealt with 
in much the same manner as that of stage setting 
and properties. Costumes are unnecessary in 
many of the simpler plays, and even where they 
are used they should be so treated that they are 
of minor importance in the minds of the children. 
It is nearly always the case that the very smallest 
suggestion of a costume — a sash or a cloth around 
the head — is satisfying and sufficient to produce 
the proper atmosphere of the play. There is 
danger of placing so much emphasis upon this 
phase of the work that the children attach undue 
importance to it and thus lose the real spirit of the 
dramatization.' 

If costumes are used they should not be saved 
for the final performance, but the children should 
have the pleasure of wearing them at each practice 
where they are actually living over and over the 
lives of other people. Children should get their 
ideas of the dress of the times from pictures and 
descriptions and then in very simple ways try to 
represent what they have observed. The sim- 
plicity of the costumes among the Hebrew people 
makes the problem comparatively simple. 

144 



Costuming 



i45 




146 The Dramatization of Bible Stories 

There is very little definite knowledge about the 
exact costume of the ancient Israelites, for they 
have left no records. The only sources of informa- 
tion on the subject are the few references to dress 
in the Old Testament and the few Jewish figures 
found among the Egyptian, Assyro-Babylonian, 
and Persian carvings. The conclusion has been 
reached, however, that the ancient Hebrew cos- 
tume was in general similar to that of the modern 
Arab. 

It is fairly certain that among the earliest tribes 
a simple slip or short tunic, with close-fitting 
sleeves, was worn. Later a big loose mantle was 
usually thrown over this slip. The little under- 
garment was white, woven from wool, or some- 
times made out of skins; the outer garment was 
frequently striped, a bright color with white. 
Among the old patriarchs the outside cloak reached 
to the ground. It was often in the shape of a 
blanket, and was draped by throwing one end over 
the left shoulder, then passing it across the front 
of the body and under the right arm, then across 
the back, and to the left shoulder again. 

At a still later period there was the long gown, 
which reached to the ankles and was belted in at 
the waist by a girdle. This was sometimes covered 
by an outside robe which was like a cape. Fre- 
quently these garments were brought over the 
heads in order to protect their wearers from the sun. 



Costuming 



i47 



As a rule the servants and lower class of people 
wore only the one garment— a short tunic, with or 
without a girdle. The richer rrien wore the outside 
cloaks. Kings and nobles had many kinds of 




Fig. 24. — The costume of Abraham 

cloaks which were very elaborately decorated. 
They had silk girdles, while the poorer men wore 
leather girdles. See Figs. 23-27 for costumes 
made by the children. 

The women's dress was very much the same as 
that worn by the men. All garments may have 



148 The Dramatization of Bible Stories 

been a little longer, but the draping and the kinds 
of garments were the same. Great ladies had 
beautiful veils and shawls. 




Fig. 25. — Two kinds of costumes — the Rich Shepherd and 
the Servant. 

Both men and women wore sandals. The soles 
were made of leather or thick woven cords. 
They were fastened to the feet by means of strings 



Costuming 



149 



of leather, linen, or of papyrus. Two straps were 
usually attached to the back of the sandal, then 
crossing from the back over the instep they were 
tied to a third strap which was fastened at the 
front and came between the great and second toe. 




Fig. 26. — Costumes, showing sandals made by the children 

Fig. 26 shows sandals which were made by the 
children. 

The headdress in the earlier days was nothing 
more than a piece of square cloth, folded diagonally 
and placed over the head with the long point at the 
back; the two ends were then crossed under the 



150 The Dramatization of Bible Stories 

chin and thrown back over the shoulders. A cord 
was tied around the head to keep the cloth on. 
Later a kind of turban was worn which had no 
loose ends, but which projected over the face 
enough to protect one from the sun. Figs. 23-25 




Fig. 27.— C 



give examples of different kinds of headdress made 
by the children. 

The crowns which the kings wore were frequently 
of gold, studded with jewels, although the Persian 
king had a stiff cap of felt or cloth, encircled by a 
blue and white band. Fig. 22 gives a few of the 
typical shapes for crowns. 



Costuming 151 

The helmets which were worn by the soldiers 
were varied. The shapes employed by the As- 
syrians and the Egyptians were probably used 
among the Hebrews. See Fig. 22 for drawings of 
some of the best-known helmets. Children may 
make these easily by using cardboard and gilt 
paper. 

The Hebrew men and women had many personal 
ornaments, such as necklaces, armlets, bracelets, 
rings. Children delight in making all kinds of 
bracelets and chains from gold and silver paper. 
They may bring all the bright-colored beads that 
they can get for the enrichment of the costume. 



CHAPTER XV 

THE ORGANIZATION OF A CHURCH 
DRAMATIC CLUB 

The kind of dramatics described in this book 
may be undertaken with success in connection with 
any Sunday school. The most necessary element 
is a leader in charge who is wide awake to the aims 
and purposes of such work and who has the ability 
to deal with little children. A trained teacher is 
preferable. 

This dramatization can be most effectively 
presented to children between the ages of six and 
thirteen. In case the Sunday school is very large 
and more children join than can be easily managed 
by one leader, it would be best to divide the mem- 
bers into two or three smaller groups, each with a 
competent leader in charge. One person should 
be able to handle well from twenty to twenty-five 
children. 1 

This training ought not to stop with younger 
children, but may well be carried on with pupils 
of high-school age. This would involve problems 

1 In church schools which are organizing on the most approved 
methods of the correlation of all educational activities the 
dramatic club may be a regular part of the junior department, 
similar clubs being integral parts of the other departments. 

152 



Organizing a Church Dramatic Club 153 

slightly different from those here presented, but 
on the whole the same aims may be achieved. 

It is sometimes the case that a few of the chil- 
dren outgrow the club. They begin to realize 
that they are much larger than the others, and they 
decide that they do not care to take part in the 
acting, yet they are still interested enough to come 
to the meetings. If there is no other dramatic 
club into which they may go, then they may be 
used as assistants in the younger club and made to 
feel that they are a necessary part of it. There 
are many ways in which they can be of valuable 
help to the leader, at the same time experiencing 
a development through the training. 

During one year in the history of the dramatic 
club here described three girls of fourteen came 
regularly to the meetings. They could not be 
persuaded to take part in the dramatizations, but 
they expressed an eagerness to help in the direction. 
They entered into the discussion and criticism of 
the plays that were being acted each Sunday, and 
their suggestions were always very much to the 
point. They had the ability of explaining what 
they meant to the children so that it was easily 
understood. These girls would write out the 
scenes, sometimes while the children were actually 
giving them; or, again, they would write them at 
home and bring them for discussion at the next 
meeting. They took entire charge of the costuming, 



154 The Dramatization of Bible Stories 

and would meet outside at sewing-bees, where 
they mended, pieced, or made over the costumes on 
hand. Then at the plays they always took the 
responsibility of dressing the little children, putting 
on their headdresses, tying their sashes, and seeing 
that their costumes were draped in the right way. 

When a dramatic club is first started, it is 
advisable to dignify the organization by electing a 
president and secretary from among the children. 
The president may take charge of the meetings 
and then turn them over to the director, and may 
help in many ways to keep the club together. The 
secretary may call the roll and be responsible for 
sending notices to the members. Children always 
delight in this amount of formality, and through 
it each one becomes a much more vital part of the 
group; the responsibility as far as possible is 
placed upon the children, and they usually rise to 
meet it. 

It is hardly practical in most cases to attempt 
to hold more than one meeting a week. The time 
should be set according to the convenience of the 
majority of the members. Sunday afternoon was 
found to be the best time for this little club to 
meet, but any week day will do as well. Occa- 
sionally, just before a play is to be given, a few call 
meetings may be necessary. 

It is desirable that the club own the simple 
costumes which the members wear. A costume 



Organizing a Church Dramatic Club 155 

box is a convenient place for keeping them. The 
same garments may be used over and over again, 
and should be kept where they may be easily 
obtained at each meeting. The older girls in the 
group will be glad to take charge of the costume 
box, and they should see that all of the garments are 
kept in order. The supply of costumes will grow, 
for children will be constantly bringing new things 
to add to it. 

There are various methods of getting a number of 
costumes on hand. The children may bring from 
home old sheets and bright-colored shawls and 
ribbons, which may be used to advantage. Often 
the Sunday school will appropriate a small sum 
in order to help buy materials. A very small 
amount of money need be spent, for the costumes 
must be extremely simple and they should be 
planned and made by the children. 

The construction work which the children do 
in connection with the dramatization is an impor- 
tant part in the working out of a play. As already 
noted, the greatest value of it lies in the fact that 
it represents the efforts of the children. There is 
hardly time at one of the regular meetings to have 
the construction work done. A discussion of the 
articles needed may be necessary, after which the 
children should be encouraged to make them at 
home. The older ones are able to look up pictures 
and descriptions which will help, while the younger 



156 The Dramatization of Bible Stories 

ones need to have the matter frequently talked 
over in order to give them the correct mental 
pictures of what they are to make. It is always 
surprising to see how readily children take hold of 
this kind of work. They bring in very many 
interesting things which they have made — often 
things which they have thought out for themselves 
and which they had not been asked to make. 
There are times when all the members are working 
on the same problem, such as lamps for the Wise 
and Foolish Virgins. It may be best under these 
circumstances to have a meeting outside where they 
all work together. (Descriptions of these con- 
structed articles may be found in a previous 
chapter.) 

A word of warning may be in place at this point. 
Parents of the children are usually anxious and 
eager to help in making costumes and the con- 
structed objects. The very best aid that they can 
give is to see that the children have the oppor- 
tunity for making these things themselves; they 
may encourage and guide wisely, but the finished 
product must be the child's, not the mother's. 
Some mothers have thought that they were doing 
the right thing to have a carpenter make the spears 
and other weapons for the soldier. The boy derives 
more benefit if he looks around for some sticks 
which will serve his purpose, no matter how crude 
they may be. 



Organizing a Church Dramatic Club 157 

The order in which plays are given in this book 
should not be taken as the proper sequence for a 
dramatic club. The story of Joseph is described 
in detail first because the method used there may 
be followed with any of the shorter or longer 
stories. This particular story, however, should 
not be the first one presented to children who have 
never had such work before. Such stories as 
David and Goliath, Abraham and the Three Guests, 
or any of the parables should come first. Joseph, 
Ruth, and Esther are well worked out by children 
after they have had a little experience with dram- 
atization. 

As a final summary, let it be ever kept in mind 
that this dramatization functions as a factor in 
religious education only when the highest develop- 
ment of the children is the aim. It should be so 
conducted that it forms an essential part of the 
religious training of the Sunday school, and also 
one of the valuable activities of the church. 



INDEX 



INDEX 



Aaron, 55 

Abraham, the dramatization of, 

84-92, 118 
Ahasuerus, king of Media and 

Persia, 70-83 
Aims of dramatization, 5, 9-10 
Amos, the prophet, 127 
Angels, 85, 90 
Armor and weapons, 50, 138-40, 

iSi 

Bag, shepherd, 136 

Banquet, Queen Esther's, 69, 

80 
Belshazzar, 125 
Boaz, 64-66 
Bow and arrow, 140 

Cardboard, use of, 45, 60, 151 
Citizens of Bethlehem, 65 
Clay, use of, 100, 131, 142 
Cloak, outer garment, 146 
Conspirators, 94-97 
Construction work, 45, 60, 130- 

43 
Costumes, 45; the making of, 
144-51; the method of ob- 
taining, 155 
Crowns, 150 

Daniel, the dramatization of, 

93-97, 122, 125 
Darius, 93-95 
David, 44; the dramatization 

of, 46-51, 128 



Design, Egyptian, 142 
Diagram of loom, 45, 136 
Dishes, 131 

Education, religious, 6-8, 157 
Elijah, 120-21 
Elisha, 122 

Esther, the dramatization of, 
68-83 

Feast, 80, 1 1 5-1 6 
Fiery furnace, 123-24 

Gibeonites, 1 16-17 
Girdle, 146 
Gleaners, 63 
Goliath, 44, 48, 51 

Haman, 71-74 
Harvest, 59, 61 
Headdress, 69, 144, 150 
Helmet, 143, 151 

Innkeeper, 105 
Isaac, 118 — 20 
Isaiah, 128 

Jacob, 18, 112 
Jael, 112 
Jephthah, 112 
Jeremiah, 128 
Jericho, 103 
Jerusalem, 103 
Job, 126 



161 



162 The Dramatization of Bible Stories 



Jonathan, 128 

Joseph, the story of, 17-25; the 

dramatization of, 34-43 
Joshua, 116 

Lamps, 99-100, 142 
Lions, den of, 93, 96-97 
Loom, 45, 136 

Method of presenting dramati- 
zation, formal, 9; informal, 
10-16 

Miriam, 55 

Moab, the land of, 63 

Mordecai, 72-74 

Moses, the dramatization of, 
52-56, 128 

Naomi, 62-63, 66-67 
Nebuchadnezzar, 122-23 

Organization, of dramatic club, 
7, 8, 152-57; of stories, 110- 
11 

Ornaments, personal, 151 

Papyrus, 142, 149 

Parables, the dramatization of, 

98-108 
Performance, public, 14, 33, 90 
Pharaoh, 21, 39, 54, 57-58 
Pharaoh's daughter, 55-58 
Pictures, the use of, 45, 84 
Plasticene, 100, 142 
President of the club, 154 
Prodigal Son, The, dramatiza- 
tion of, 105-8 
Prophets, the, 126-27 

Queen of Sheba, 11 5-1 6 



Reapers, 63-64 
Rebekah, 118-20 
Ring, signet, 141 
Ruth, the dramatization of, 59- 
67 

Samaritan, The Good, the 

dramatization of, 103-4 
Samson, 112 
Samuel, 1 13-14, 128 
Sandals, 62, 148-49 
Sarah, 85 
Saul, 48, 128 
Scepter, 69, 78, 137 
Secretary of the club, 154 
Servant, 100, 108 
Shepherd customs, 84 
Shield, 45, 138 
Sickles, 60, 137 
Sling, 45, 5i, 135-36 
Soldier, 49, 96 
Solomon, 11 5-1 6 
Spears, 45, 140 
Staff, 45, 134 
Stage setting, 84, 130 
Supper, The Great, 100 
Swords, 45, 139 

Tents, 84, 138 
Trumpets, 141 
Tunic, 146-47 
Turban, 150 

Virgins, The Wise and Foolish, 
the dramatization of, 99-100 

Water jugs, 131-32 
Wells, 133 



Deacidified using the Bookkeeper process. 
Neutralizing agent: Magnesium Oxide 
Treatment Date: Sept. 2005 

PreservationTechnologies 

A WORLD LEADER IN PAPER PRESERVATION 

1 1 1 Thomson Park Drive 
Cranberry Township. PA 16066 
(724)779-2111 



